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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

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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