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    Of countesses and kings

    With so many bullets and dredged-up rivalries, Dallas is drilling in the wrong direction

    Elaine Liner
    Feb 11, 2013 | 11:39 pm

    Consider J.R. Ewing the Dowager Countess of Southfork. Quick with a quip even in his dotage (he’ll be eulogized by episode eight), J.R. has a way of snapping off the end of his conversations with lesser mortals the way Dame Maggie Smith’s character does on Downton Abbey.

    Notice how young actor Josh Henderson, playing J.R. and Sue Ellen’s son, John Ross, tries more each week to sound like Larry Hagman as this reboot of Dallas moves toward Hagman’s death. Good luck with that.

    In this week’s episode — No. 4, if you’re counting — writer Taylor Hamra gave old J.R. some doozies in the dialogue department. “Like invitin’ a vampire into our home,” he says of John Ross’ “cavortin’” with Ewing enemy Pamela Barnes (Julie Gonzalo).

    They’ve pumped so many bullets into so many characters, the series could be sponsored by the NRA.

    And when J.R.’s little brother takes the rap for last week’s shooting of family nemesis Harris Ryland (actually, Bobby’s wife Ann pulled the trigger), J.R. observes that he won’t try talking Bobby out of being valiant: “I’ve got a better chance of winning the Good Samaritan award.”

    Theme of this episode: “Drillin’ in the wrong direction,” a reference to a Southfork oil well operation sabotaged by John Ross. Also applies to John Ross’ bedroom explorations with the oily temptress, Pamela, and to his wooing of her daddy, Cliff Barnes, to double-cross J.R.

    It also applies to the clunky plotting this season. They’ve dredged up too many old Dallas rivalries and pumped so many bullets into so many characters, the series could be sponsored by the NRA. They’re even playing “Who shot Harris Ryland?,” with that character, played by Mitch Pileggi, coming out of his coma and implicating Bobby as the would-be murderer, not real shooter Ann (Brenda Strong, weeping buckets as always).

    Light in the darkness: The great Judith Light plays this season's biggest heavy. She's Harris Ryland’s mother, making her Ann Ewing’s ex-mom-in-law and grandmother to Ann’s long-lost daughter. (Their family tree has to be a weeping willow.)

    This week, Miss Light, beige hair wrapped up in a vicious French twist, delivered a soliloquy at her son’s hospital bedside, where she spat out words of hate about Ann. Then, in a moment right out of Shakespearean soap opera, she whispered in comatose Harris’ ear: “Sleep well. Gather your strength. When you wake, you will be king once more.”

    She’d be better if she dropped that community theater Streetcar Named Desire accent.

    Judith Light would be better if she dropped that community theater Streetcar Named Desire accent.

    Real Dallas actors with screen time: Ochre House Theatre’s Matthew Posey had four good scenes this week as the bought-off drilling foreman working on the sly for John Ross Ewing. Posey can guzzle fake booze and act, and chew food and act, all while wearing double denim (which can’t be said for some of the stars of this series).

    Longtime Dallas stage actress Pam Dougherty pounded a gavel with great conviction as a judge. (We hear she was wearing Birkenstocks under her judicial robes in that scene.) Uptown Players’ stage manager Cathy O’Neal was in the gallery in the courtroom scene.

    We’ve been there: White Rock Lake got name-checked as the site where the corpse of murdered Tommy Sutter (killed last season) was discovered. And the first sight of original Dallas series veteran Ken Kercheval, back as Cliff Barnes, came in a secret meeting with John Ross in what looked like the empty audience section of Gexa Energy Pavilion at Fair Park.

    No reason was given why ol’ Cliff was sitting around the empty venue. Grabbing an early seat for One Direction perhaps?

    CSI: Dallas: Aforementioned Sutter corpse was given the CSI gruesome close-up treatment in a montage showing bullets extracted from the moldering flesh. Then, to a pounding score of tough guitar chords, they ran through some zippily edited ballistics tests. This episode was directed by San Antonio native Stephen Herek, who directed the feature films Mr. Holland’s Opus and The Mighty Ducks.

    Sue Ellen as Cassandra: Like a seer from mythology, Sue Ellen Ewing (Linda Gray, growing more fabulous by the week) warns son John Ross about the consequences of bringing Cliff Barnes back into their lives. “Be prepared to face the full weight of his fury,” she says of J.R.’s wrath.

    Hard scene to swallow: “Smiling Frank” (Fahran Tahrir), the Barnes family muscle, was arrested for last season’s murder of Tommy Sutter. In court Frank blurted out that he also murdered Tommy’s sister, Becky.

    As the extras in the courtroom mumbled “watermelon, watermelon,” Frank pulled a cyanide capsule out of his pocket and swallowed it, a grabbed-from-headlines twist from this real-life case.

    Coming up: J.R. disappears. Bobby is framed for attempted murder. Keep those tear ducts clear, Annie!

    ---

    New episodes of Dallas air at 8 pm Mondays, with repeats online and on cable’s TNT.

    Larry Hagman and Josh Henderson on Dallas.

    Photo courtesy of TNT
    Larry Hagman and Josh Henderson on Dallas.
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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