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Sue Ellen Still Likes the Sauce

Sue Ellen ponders a new cocktail on midseason premiere of TNT's Dallas

Lindsey Wilson
Aug 19, 2014 | 12:17 am

While Elaine Liner is in Scotland for the Edinburgh Fringe Festival, I'm taking up her recapping mantle until she returns. Take a swig of after shave, kids, and let's get through this together.

The title of tonight's episode, "Denial, Anger, Acceptance," refers to three of the five stages of grief. Thanks to the actors' blank stares and unlined faces, I couldn't tell if anyone was actually grieving, but there sure was a lot of loss.

Most significantly, Bobby (Patrick Duffy) lost Southfork, which burned spectacularly during the April midseason finale. From what I can gather, that leaves a lot of folks homeless now, but that's a problem for another time.

In desperation, Sue Ellen snatches up a bottle of after shave, finds the most important ingredient (sweet, sweet alcohol!) and pockets it.

Who set the fire? Was it Heather's (AnnaLynne McCord's) ex-husband Bo (Donny Boaz), as everyone assumes, who's now undergoing surgery to "put his spinal column back together?" (By the way, excellent scienc-ing, writers!) Or was it a soused Sue Ellen (Linda Gray), who's eyeing the pitcher of water in her hospital room like she wishes it were vodka? Only time — and some wavy, Lifetime movie-looking flashbacks — will tell.

While Southfork burned (with what I'm assuming was a highly flammable Sue Ellen inside), John Ross (Josh Henderson) was having what he thought were sexy times with both his wife Pamela (Julie Gonzalo) and his mistress Emma (Emma Bell). Before watching, a friend gave me a primer on who's-related-to-whom vs. who's-sleeping-with-whom. This, I have learned, is a case of both related-to and knocking-boots-with, as Emma is John Ross' cousin by marriage. But just when things start getting hot and heavy, Pamela passes out and begins vomiting white goo.

Seems the jilted wife wanted to exact a little revenge, so she downed a bunch of pills before slipping on her negligee and crashing the Omni Dallas suite. There are many references to a video Pam received of John Ross and Emma in bed, and everyone assumes it was Emma who pressed "send."

"She's crazy," my friend offered when Emma first popped onscreen. Really? This timid, washed-out blonde is the evil seductress, the homewrecker of the Ewings? Emma spends the majority of this episode looking spooked, whether it's when stepdad Bobby is forbidding her to return home or when wicked grandma Judith (Judith Light) is coaching her on how to "nurture the hurt, feed the hurt."

Judith Light should have more screen time. Let's just rename this show Judy Does Dallas and set it in her Swiss Avenue brothel. I'd watch.

Ah, Judith Light. Elaine wasn't kidding when she said this scenery-chewer should have more screen time. In fact, let's just rename this show Judy Does Dallas and set it in her Swiss Avenue brothel. I'd watch.

Her best line this week is when she's scolding Ann (Brenda Strong) for not mothering Emma properly. "At least this time she didn't leave my granddaughter at the fair," Judith sniffs, shooting Ann a melting glare before protectively steering Emma away.

While sifting through the charred ruins, Bobby confronts his wife, Ann, about an illicit kiss shared between her and her ex, the wry and dry Harris Ryland (Mitch Pileggi). "Thank goodness you weren't in the house," Bobby says, before adding suspiciously, "Where were you?" The length of that pause before Ann answers is comically incriminating.

Maybe it's because I didn't see this smooch, but the whole confrontation felt like weak sauce. Oh well. Perhaps we'll grieve more for this fractured pair next week.

Meanwhile, sinister-seeming Nicolas (Juan Pablo Di Pace) is pacing around an abandoned warehouse, being sinister. Not kidding — even his voicemail greeting portends bad deeds. I'm still not entirely clear who he is, but the writers made sure to clue me into the fact that he's using Elena (Jordana Brewster). He's also lying to her, saying that her missing brother Drew (Kuno Becker) is almost certainly in Mexico when in fact he's right in front of Nicolas, confined to a room with a one-way mirror. That never ends well.

As John Ross is attempting to apologize to his wife with a sentimental gift — a melted plastic ring, which she promptly drops in the trash — and Heather's creepy little son is bringing his daddy a stuffed bull (there would have been cookies too, but the little bugger ate them all), Sue Ellen is wandering around the hospital gift shop in her waffle robe.

In desperation, she snatches up a bottle of after shave, finds the most important ingredient (sweet, sweet alcohol!) and pockets it before guiltily exiting the gift shop. Though she can't bring herself to down the bright blue liquid, the petty theft does prompt her to stroll down to the waiting room and confess her guilt. In a drunken stupor, she set fire to John Ross' wedding invitation.

Mystery solved, right?

Wrong. Turns out Drew snuck into John Ross' room, plugged in an evil air freshener, then spritzed the walls with what appeared to be alcohol. I'm going to assume this is what attracted Sue Ellen to the room (although she stopped short of licking the curtains), but setting that invite aflame certainly didn't help matters.

With Drew's usefulness now over, and as payback for some business with a drug cartel (sure, why not), he gets a gun to the temple. See? I told you Nicolas was bad news.

Sue Ellen: Still liking the booze.

Linda Gray as Sue Ellen on TNT's Dallas
Photo courtesy of TNT
Sue Ellen: Still liking the booze.
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Movie Review

Spider-Man: Brand New Day sets a new standard for comic book movies

Alex Bentley
Jul 30, 2026 | 1:02 pm
Tom Holland in Spider-Man: Brand New Day
Photo courtesy of Sony Pictures
Tom Holland in Spider-Man: Brand New Day.

Ever since Spider-Man became part of the Marvel Cinematic Universe, the character’s stand-alone movies have been notable for maintaining their own vision despite having to service the larger MCU storyline. The emotionality of the series reached its high point in No Way Home by bringing back two former Spider-Mans - Tobey Maguire and Andrew Garfield - to assist Tom Holland in a multiversal storyline.

The heart displayed in that film is superseded by Spider-Man: Brand New Day, in which Peter Parker (Holland) is now alone in the world following the events of the previous film. For years, he has done his best to stay busy by stopping in-progress crimes and checking in with Detective Jean DeWolff (Liza Colón-Zayas), but the twin traumas of losing Aunt May (Marisa Tomei) and forcing girlfriend MJ (Zendaya) and best friend Ned (Jacob Batolon) to forget him still weigh heavily on him.

Almost simultaneously, Peter starts experiencing a change in his physiology and is challenged by a new threat who has a power he does not know how to defeat. As he struggles with both of those things, he asks for help from a variety of sources, including Professor Bruce Banner (Mark Ruffalo), Frank Castle, aka The Punisher (Jon Bernthal), and - despite not knowing who he is - MJ and Ned, who are now roommates in New York following their college years at MIT.

Directed by Dustin Daniel Cretton and written by Chris McKenna and Erik Sommers (who have written each of the Holland Spider-Man films), the movie has a near-perfect blend of comic book spectacle and small-scale intimacy. Spider-Man’s ability to swing through New York’s urban landscape with ease provides plenty of opportunities for great action sequences, but the character’s focus on keeping the streets safe and finding a way back to his friends makes the story still feel manageable.

This is aided by the decision to not go overboard with the MCU connections. Bruce Banner/Hulk and a member of the New Avengers show up, but in relatively small roles. The Punisher makes the leap from TV to the movies, and the interaction between him and Spider-Man feels organic. So too does the super-secret villain, whose impact is felt well before they ever show up on screen thanks to a power that is as mysterious as it is effective.

While the action is abundant in the film, the filmmakers lean on emotion much more than most other comic book movies. Peter’s journey back to a semblance of a normal life is well-earned, with his reconnection with MJ and Ned slow-walked in an admirably subtle way. And in the final act, when CGI battles typically take over, the interior lives of Peter and other characters play as much a role in what happens as anything they do physically.

Holland, who tends to take criticism for non-Spider-Man roles, remains the ideal actor for the role. His open-heartedness makes him relatable, his athleticism makes him believable, and he crushes the heavier moments. He and Zendaya, who are now married in real life, work tremendously well together, and Batalon is a fun third wheel. Other standouts include Bernthal, Colón-Zayas, Trammell Tillman, and Stranger Things’ Sadie Sink.

From beginning to end, Spider-Man: Brand New Day now owns the title as best movie in the current Spider-Man universe. By maintaining connections to past movies, solidly incorporating new characters, and pointing to the future without making it the whole story, it demonstrates a model for how comic book movies should be done.

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Spider-Man: Brand New Day opens in theaters on July 31.

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