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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

    Lust eclipses romance in new adaptation of 'Wuthering Heights'

    Alex Bentley
    Feb 12, 2026 | 2:15 pm
    Jacob Elordi and Margot Robbie in Wuthering Heights
    Photo courtesy of Warner Bros. Pictures
    Jacob Elordi and Margot Robbie in Wuthering Heights.

    Emily Brontë’s 1847 novel Wuthering Heights is one of those classic books assigned in high school English classes, and it has received a number of film adaptations over the years, each of which differ in numerous ways from the source material. Purists won’t receive any reprieve from Emerald Fennell’s 2026 adaptation, with a title that is stylized as "Wuthering Heights” for good reason.

    Cathy (played as an adult by Margot Robbie) and Heathcliff (Jacob Elordi) have known each other their entire lives, with Cathy’s alcoholic and inveterate gambler father (Martin Clunes) taking in Heathcliff on a whim when he was a boy. The two bond as they grow up together, although Cathy always seems to have an eye on moving up in society from their relatively impoverished lifestyle.

    Cathy finally gets her wish when the rich Linton familyled by Edgar (Shazad Latif), moves in down the road, Despite discovering she has feelings for the now grown-up Heathcliff, Cathy sees Edgar as her way out and agrees to marry him. A scorned Heathcliff flees, returning years later as mysteriously wealthy. His reappearance ignites something in Cathy’s soul, and the two engage in a perhaps unwise affair.

    Fennell (Promising Young Woman, Saltburn) infuses the dusty material with an energy that’s not typically present in stories set in this particular time and place. Aside from the occasional Charli XCX song (the singer created a whole concept album for the film), the film looks and feels like a period piece, albeit one that doesn’t get bogged down in the drudgery that can sometimes come from films set in the distant past.

    Much of that has to do with the lust the filmmaker puts into the story. Even if you’re not familiar with Brontë’s book, you can rest assured that Fennell has strayed far from the text, giving Cathy and Heathcliff thoughts and actions unthinkable in the 19th century. Fennell plays with expectations by opening the film with audio featuring creaking noises and a man grunting, conjuring up a situation far different than what is actually happening, and she also makes liberal use of rain, sweat, and tears to make the actors enticing.

    What she can’t do, however, is make the two lead characters compelling. Cathy is a striver who never seems to know what she wants out of life, and Heathcliff goes from a bore to a brute over the course of the film, with no clear indication that he likes anybody, much less Cathy. Anyone expecting some kind of grand romance will be disappointed as Fennell is much more interested in making the film weird, like having the walls of Cathy’s room look like her skin, complete with freckles.

    Robbie and Elordi do well enough with the material, and it’s clear that both of them are committed to bringing Fennell’s vision to life. Their styles tend to balance each other out, and if the story had been committed to their characters’ relationship, they might be lauded for their chemistry. In the end, though, the supporting actors feel more interesting, including ones played by Hong Chau, Alison Miller, and Clunes.

    This version of Wuthering Heights should never be construed as an alternative to reading the book for any high schoolers out there. While Fennell makes the film interesting with her technical filmmaking choices, the story never finds its footing as it fails to sell the one thing that it seems to promise.

    ---

    Wuthering Heights opens in theaters on February 13.

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