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    Dallas Could Learn From Mad Men

    TNT's Dallas midseason finale sets Southfork — not series — on fire

    Elaine Liner
    Apr 14, 2014 | 11:48 pm

    What if Dallas episodes were as well-crafted as those of cable's best series, Mad Men? What if they were written with wit and style? What if they actually gave viewers some accurate, trenchant insight into the lives of rich people like the Ewings, the aging oil-and-cattle barons left over from the Texas of yesteryear whose kids are doing tech start-ups and joining museum boards?

    In other words, why isn't Dallas as interesting as Dallas?

    This week's episode was the half-season finale as the show takes a hiatus until August 18 to make way for 10 new scripted series debuting on TNT this summer. Those include new shows by TV drama heavy-hitters Steven Bochco, Michael Bay and the producers of Showtime's Emmy winner, Homeland.

    There's no big story arc to tie episodes together week to week. No cliffhangers worth caring about. No characters to love or hate enough to make the show a must-see.

    Watch out: Those folks know how to write for television. If their series take off ratings-wise, they could squeeze Dallas off the primetime schedule.

    Which might not be such a tragedy. As a reboot of the top-rated oldie from the 1980s, this Dallas suffers terribly from a lack of quality writing. (This week's episode, titled "Where There's Smoke" was co-written by series producer Cynthia Cidre and Robert Rovner.)

    There's no big season-long story arc to tie episodes together week to week. No cliffhangers worth caring about. No characters to love or hate enough to make the show a must-see.

    On the old Dallas, you knew who were heroes and villains. Now characters flip from rotten to righteous to rotten again from episode to episode. Characters behave so erratically, it's as if the writers aren't reading each other's scripts.

    One week Sue Ellen (Linda Gray, soldiering through every awful line of dialogue like the champ she is) is a drunk, the next she's sober, then she's blotto again. Bobby Ewing (Patrick Duffy) has done little this year but whisper-yell each week that he will allow neither fracking nor redecorating at Southfork.

    "Over my dead body," he's said a few times to scheming nephew John Ross (the height-challenged, inexpressive Josh Henderson). "Don't tempt me, Uncle Bobby," John Ross mumbles back.

    The show's writers, different from week to week, have tried to make John Ross into J.R. Jr. But Henderson's no Hagman, so the attention heaped on his character just emphasizes the actor's inability to carry the series as a leading man.

    This season had John Ross marrying doe-eyed brunette Pamela Rebecca Barnes (Julie Gonzalo) twice and moving her into J.R.'s old bedroom at Southfork. But he was simultaneously carrying on a rather soggy affair with pert blond Emma Brown (Emma Bell).

    Emma's his cousin-by-marriage because she's Bobby's wife Annie's daughter, though Annie hadn't seen the girl in 20 years after ditching her at the State Fair in her baby buggy — a little something she'd never bothered to mention to Bobby. Emma was raised by her rich birth-father, Harris Ryland (Mitch Pileggi), and her Cruella-like grandmother, Judith (Judith Light). They run a trucking firm and a whorehouse on Swiss Avenue. As you do.

    This kind of writing on a primetime drama is so ridiculous that it's insulting to the viewers. It's cheap and tawdry.

    See? This kind of writing on a primetime drama is so ridiculous that it's insulting to the viewers. It's cheap and tawdry. Cartoonish one minute, bawdy the next. And Henderson as a sexy devil? He looks more excited discussing fracking than he does when he's fornicating.

    On Mad Men, we believe Jon Hamm is that complicated advertising man, Don Draper. He has zipper problems like John Ross does, but Don's sexual profligacy seems to come from somewhere. Don has depth. The writers on that show, led by the master, Matthew Weiner, have taken time to give Don Draper a soul.

    On Dallas, even the characters held over from the Reagan years now are just vague facsimiles of the complicated Ewings we used to know. And the new kids — John Ross, Christopher (Bobby's kid, played with maximum stubble by Jesse Metcalfe), Pamela, Emma, Elena, etc. — are so shallow and emotionally vacant, they're little more than pretty ciphers.

    Whether kissing or arguing, their faces don't move. Hard to tell if it's Botox or bad acting.

    Dallas has tried to sex it up this season. Every episode has had John Ross playing bouncing bedmates with Pamela and Emma. Hip to the shenanigans, Annie and Sue Ellen tried to stop John Ross' extramarital hijinks.

    Worrying about it drove Sue Ellen back to the bottle. Annie kicked Emma out of Southfork for about 10 minutes, then invited her back. Sue Ellen moved back into Southfork too, with Bobby and Annie providing a "sober coach" (never seen, though wouldn't that make some good scenes?) to help her stop drinking. How nice of them to keep all the crystal decanters of hooch around the house to sabotage the effort.

    So many dopey subplots keep getting in the way of this show ever finding its rhythm. Drug cartels overthrowing the Mexican government. Arctic oil leases up for grabs. A tedious storyline that had John Ross, Ewing Global employees Elena Ramos (Jordana Brewster) and Nicolas Trevino (gorgeously oily Juan Pablo di Pace), Cliff Barnes (Ken Kercheval), and a half dozen other characters trying to buy enough shares of stock to take over the company.

    Jesse Metcalfe is about 400 times hunkier than Josh Henderson. And he can act! Why not really make him the white hat against bad-boy John Ross?

    That whole thing fizzled out. Wasn't even mentioned in this week's "finale." And J.R., long dead now, is mentioned so often that we half expect him to stride into the boardroom. Ring out the dead, Dallas. You're not helping yourself by reminding us what's not there anymore.

    Blackmail attempts, fistfights, two women trying to get John Ross' DNA on the same lace dress — sheesh, writers, try to focus.

    Another problem: too many cellphones. Every scene seems to revolve around somebody's iPhone buzzing or someone checking or sending an email. This week's big plot twist had Emma sending video of her latest tryst with John Ross to his wife Pamela, who watched it on her phone and then went into a stupor as her bathtub overflowed.

    (Odd that no cellphone company actually sponsors this show. There are so many phones in characters' hands, it looks like product placement.)

    To give Christopher a love interest, they've paired him up with a young ranch hand played by dead-eyed AnnaLynne McCord. This week her ex-husband absconded with her little boy.

    Christopher and Bobby, playing superheroes in their magic pick-up truck, left lunch at Lee Harvey's and arrived at the Mesquite Rodeo minutes later to retrieve the tyke. (Nice cameo there by Dallas Theater Center and Second Thought Theater actor Steven Walters as an angry rodeo dude.)

    Look, Jesse Metcalfe is about 400 times hunkier than Josh Henderson. And he can act! But all season he's been stuck in one dead-end plotline after another. Why not really make him the white hat against bad-boy John Ross?

    Let them go at it in business and on the homefront. Hard to recall even one scene with both actors in it. Maybe it's because Henderson would need an apple crate to stand on to be eye-to-eye with Metcalfe.

    The real star of this Dallas is Judith Light. In the role of evil matriarch Judith Ryland, she doesn't just chew scenery, she goes after it like a human chainsaw.

    The real star of this Dallas is actress Judith Light. In the role of evil matriarch Judith Ryland, she doesn't just chew scenery, she goes after it like a human chainsaw. This season has seen her snorting coke and declaring "Mama like" as she licked her gums, and, this week, instructing her slutty granddaughter on how to handle men.

    "They heel better when they have a leash around their necks," she snarled. Delicious.

    Light and Pileggi have the ginchiest chemistry of any two actors on this series, but they've shared barely two minutes of screen time. He's especially good at biting back at Light's character. Seeing that she was upset this week, Pileggi's Harris Ryland cracked, "One of the Dalmatians get loose?"

    More lines like that, please. And more actors like these two.

    This week's season opener of AMC's Mad Men featured, as always, deft use of period-perfect music to reflect what was happening to various characters in 1969. The episode ended with Don Draper drunk on his penthouse terrace and his old pal Peggy (Elizabeth Moss) crumpled on the floor of her apartment as Vanilla Fudge's version of "You Keep Me Hangin' On" throbbed on the soundtrack.

    The song made a statement about where these characters are in their lives and what they mean to each other. It hinted at things to come.

    This week's Dallas used a rock song to end on too. As flames licked at the eaves of Southfork — yes, they're burning it down, which is a good way to get those renovations covered by insurance — and John Ross interrupted some girl-on-girl action between Emma and Pamela in his favorite boffing suite at the Omni Dallas hotel, we heard the Doors singing "Break on Through (to the Other Side)."

    The song made no sense against the visuals. Rights to "Light My Fire" must have been too expensive.

    ---

    Catch all episodes in rerun at TNT online. New episodes of Dallas return August 18.

    The new kids — like Emma (Emma Bell) — are so shallow and emotionally vacant, they're little more than pretty ciphers.

    Dallas on TNT season 3
      
    Photo by Skip Bolen
    The new kids — like Emma (Emma Bell) — are so shallow and emotionally vacant, they're little more than pretty ciphers.
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    ACMs in DFW

    A country music fan's 10 takeaways from the 2025 ACM Awards in Frisco

    Celestina Blok
    May 9, 2025 | 2:30 pm
    Ella Langley
    Photo courtesy ACM Awards
    "It girl" Ella Langley led ACM nominations with eight nods

    For the third year in a row, the Academy of Country Music Awards took place at The Ford Center at The Star in Frisco. Held on Thursday, May 8, the 60th edition of the star-studded event – considered the granddaddy country music awards – was hosted by the legendary Reba McEntire and featured performances by 26 artists, including Lainey Wilson, Eric Church, Jelly Roll, Chris Stapleton, and Zach Top.

    The show was broadcast live on Prime Video in 240-plus countries (and is still available for streaming).

    Locally, it drew 13,000 spectators, and for the first time, I got to be one of them. A longtime country music fan, I threw on my best awards show outfit made "black tie country" (the recommended attire) with tall white boots and trekked from Fort Worth to Frisco for the chance to be part of action.

    Before we get to the winners in 15 categories, here are some "insidery" observations and notable takeaways from experiencing the big event in person.

    1. Classic country is making a comeback
    There’s no doubt about it: Country music fans are craving classic country music. After years of “bro country” dominating the airways with its hip-hop influenced, party-focused lyrics, a new appreciation of '80s, '90s, and early 2000s country sounds have emerged, as evidenced by the excitement for numerous performances and appearances by big acts from those eras.

    The show opened with a 12-minute all-star set featuring ACM Songs of the Year from past decades, including Reba McEntire singing “Okie from Muskogee,” Clint Black singing “Rhinestone Cowboy,” Wynonna Judd singing “Why Not Me," and Garland native LeAnn Rimes singing her 1996 hit "Blue."

    Zach Top, a 27 year-old newcomer touted for his authentic (and unapologetic) '90s country sound, won New Male Artist of the Year. And '90s country icons Brooks & Dunn, whose last two album releases were simply reboots of their classic hits with new artist collaborations, won Duo of the Year.

    LeAnn RimesGarland native LeAnn Rimes sings "Blue" as part of the opening of the 2025 ACM Awards in Frisco.Photo by Jason Kempin/Getty Images

    2. Jelly Roll is the new Ryan Seacrest
    With several recent chart-topping hits, including “Need a Favor,” “Son of a Sinner,” “I Am Not Okay,” “Liar,” and his duet with Lainey Wilson, “Save Me,” the former rapper from Tennessee has found a home in the country music scene. ACM Awards nominations for Jelly Roll included Entertainer of the Year, Album of the Year, and Male Artist of the Year.

    Radio personality Bobby Bones, who hosted backstage interviews with artists during ACM Awards show breaks, gave the rising country music star a new title.

    “You’re like the tattooed faced Ryan Seacrest at this point,” said Bones. “You’re everywhere.”

    He’s also everywhere in Dallas-Fort Worth right now.

    Thousands descended on Billy Bob’s Texas on Tuesday, May 6 (myself included) for Jelly Roll & Friends, a benefit concert held ahead of the ACM Awards that benefited ACM Lifting Lives. He performed “Amen” at the ACMs with Shaboozy and a 16-member choir and is also scheduled to perform with Post Malone at AT&T Stadium on Friday, May 9.

    Jelly RollJelly Roll performs onstage during Jelly Roll & Friends at Billy Bob's Texas in Fort Worth on May 6.Photo by Jason Kempin/Getty Images

    3. Alan Jackson is the GOAT
    If there was a tear-jerking moment during the ACM Awards, it was Alan Jackson’s performance of 2003 hit, “Remember When.” Written by Jackson himself, the love song recounts decades of memories with his wife, Denise. The relatable lyrics (“Remember when, thirty seemed so old, now looking back, it's just a stepping stone”) coupled with close-ups of Jackson’s authentically tender facial expressions resulted in not one dry eye in The Ford Center.

    The ACMs debuted the inaugural Alan Jackson Lifetime Achievement Award in recognition of Jackson’s achievements and enduring legacy in country music. He’s sold more than 75 million records worldwide, has more than 50 Top 10 hits, and 35 No. 1 singles on the Billboard Country charts. (He also sold out Fort Worth's Dickies Arena back in February with opener Zach Top. I was there, too.)

    Jackson was the first recipient of the new award, which will continue to recognize an iconic artist, duo, or group that has achieved national and international prominence through concert performances, philanthropy, record sales, streaming numbers, and public representation.

    4. Girl power was big
    It was a night for the ladies at the 60th ACM Awards, with females taking the crown for numerous coveted categories. (See below.) The award for Female Artist of the Year went to Lainey Wilson and was presented by five past winners of the category including Martina McBride, Gretchen Wilson, Sara Evans, Crystal Gayle, and Wynonna Judd.

    Electrifying female performances included New Female Artist of the Year Winner Ella Langley, and Reba McEntire, Miranda Lambert and Lainey Wilson, who together sang their upcoming track, “Trailblazer,” for the first time exclusively on the ACM stage.

    Lainey Wilson, ACM AwardsLainey Wilson, winner of the Entertainer of the Year and several other ACM Awards.Photo by Omar Vega/Getty Images

    5. Morgan Wallen was a no-show, again
    For a guy who’s arguably the biggest superstar in country music right now (he sold out back-to-back shows at AT&T Stadium last year), Morgan Wallen has made clear he’s not a fan of awards shows. Despite being up for seven nominations, including Entertainer of the Year, the 31 year-old Tennessee native was notably absent at the 60th ACM Awards.

    He also skipped last year’s awards, along with the 2025 Grammy Awards. He was apparently hanging with Tom Brady instead. Just before those ACM Awards were set to begin, Wallen posted a photo of himself and the legendary NFL quarterback tossing a football on a golf course reportedly in Ireland. Two years ago, he was set to star in an ACM Lifting Lives fundraiser and withdrew the night before.

    6. Brooks & Dunn can get a crowd out of their seat
    Further proving fans are nostalgic for classic country hits, perhaps the most energetic performance of the evening was the collaboration between Brooks & Dunn and Cody Johnson for Brooks & Dunn’s “Red Dirt Road.” Stars and spectators alike danced out of their seats during the 2003 hit. No wonder they get asked back, again and again, to red-hot DFW events like Cattle Baron's Ball and the Texas Rangers' Tex Gala.

    Brooks & Dunn, ACM AwardsKix Brooks (right) and Ronnie Dunn, winners of the Duo Of The Year Award, pose in the press room during the 60th Academy of Country Music Awards.Photo by Omar Vega/Getty Images

    7. Jerry Jones arrived via helicopter
    Decked-out fans walking into The Ford Center before the ACM Awards were greeted big the loud arrival (and later, takeoff) of Jerry Jones’ helicopter. The Dallas Cowboys owner and general manager is known to make flamboyant entrances via his preferred method of transportation around town. The Ford Center is the official practice center of the Dallas Cowboys, and it’s through a partnership with Jones that the ACM Awards have been hosted there since 2023.

    8. The ACM Awards have a signature drink
    Attendees of the 60th ACM Awards could order a specialty cocktail called the Boot & Berry Fizz. Made with Western Son Strawberry Vodka, the fruity concoction included elderflower liqueur, lemon juice, simple syrup, and a splash of club soda.

    9. Ella Langley is the new country music “It” girl
    With five big wins, including Single of the Year for her duet with Riley Green, “You Look Like You Love Me,” Alabama native Ella Langley shined at the ACM Awards. She had two performances during the event and was also the most nominated with eight nods. At 26 years old, Langley’s just getting started.

    10. Backstreet Boys and Rascal Flatts are the duo we didn’t know we needed
    In an over-the-top finale complete with fireworks and ticker tape, the ACM Awards ended with a surprising collab between '90s boy band icons Backstreet Boys and the recently reunited Rascal Flatts. The two groups meshed performances that included “What Hurts the Most,” “I Dare You,” “Larger Than Life,” and “Life is a Highway." The jam-packed set kept the crowd dancing until the very last second - including myself, despite my plans to beat the rush.

    Here is full list of winners in the 15 categories voted on by Academy members:

    ENTERTAINER OF THE YEAR
    Lainey Wilson

    FEMALE ARTIST OF THE YEAR
    Lainey Wilson

    MALE ARTIST OF THE YEAR
    Chris Stapleton

    DUO OF THE YEAR
    Brooks & Dunn

    GROUP OF THE YEAR
    Old Dominion

    NEW FEMALE ARTIST OF THE YEAR
    Ella Langley

    NEW MALE ARTIST OF THE YEAR
    Zach Top

    NEW DUO OR GROUP OF THE YEAR
    The Red Clay Strays

    ALBUM OF THE YEAR
    Whirlwind – Lainey Wilson

    SINGLE OF THE YEAR
    “You Look Like You Love Me” – Ella Langley, Riley Green

    SONG OF THE YEAR
    “Dirt Cheap” – Cody Johnson

    VISUAL MEDIA OF THE YEAR
    “you look like you love me” - Ella Langley, Riley Green

    SONGWRITER OF THE YEAR
    Jessie Jo Dillon

    ARTIST-SONGWRITER OF THE YEAR
    Lainey Wilson

    MUSIC EVENT OF THE YEAR
    “You Look Like You Love Me” - Ella Langley, Riley Green

    Ella Langley
      

    Photo courtesy ACM Awards

    "It girl" Ella Langley led ACM nominations with eight nods

    acm awardscountry musiccountry music awardsford centerjerry joneslainey wilsonmorgan wallen
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