Arts & Entertainment
‘Dallas’ reboot in fine form
Continuation of classic series deftly balances old and new
I finally caught the “Dallas” reboot (Wednesdays at 9 on TNT) last night on DVR — busy week — and though thoroughly prepped for disappointment, was delighted to find a tightly paced, deftly edited take on one of my all-time favorite shows that struck a perfect balance between edgy/hip/new and familiar/nostalgic/endearing.
Which is saying a hell of a lot — classic franchise reboots are notoriously hard to pull off. They always sound good on paper but when a show takes on a life of its own and becomes a cultural touchstone, as the ’78-’91 classic installment did, it’s practically impossible to catch lightening in a bottle twice. Who knows if it will last, but this week’s two-hour pilot did everything it needed to do to relaunch the series in a gripping, promising way. It’s light years better than “J.R. Returns” (1996) and “War of the Ewings” (1998), the two TV movies that continued the storyline and thankfully removed the bitter aftertaste left by the show’s bizarre 1991 finale (“Conundrum”) in which Joel Gray appeared in an “It’s a Wonderful Life” takeoff that ended with a shoddily ill-conceived cliffhanger with supernatural overtones.
The cast of 'Dallas.' (Photo courtesy TNT)
So it’s thrilling to see the old warhorse, which struggled mightily in both quality and ratings its last few seasons, doing well — 6.9 million viewers tuned in to this week’s launch making it the most-watched scripted cable series so far this year and outranking anything the regular networks had in its time slot.
Twin heartthrobs Josh Henderson and Jesse Metcalfe play Ewing offspring John Ross (J.R. and Sue Ellen’s son) and Christopher (Bobby and Pam’s son) all grown up. One can’t help but wonder, of course, what became of Ormi Katz and Joshua Harris, the two actors who played the characters for years as kids on the original show, but their absence is quickly forgotten as Henderson and Metcalfe are so easy on the eyes and good actors too.
John Ross wants to drill for oil on Southfork Ranch against the wishes of Miss Ellie’s will. Christopher is pursuing an alternative energy venture that has had devastating consequences in Asia. He’s about to get married at the ranch to Rebecca (Julie Gonzalo). His old flame Elena (Jordana Brewster) is now dating John Ross. It’s a clever premise reviving a theme from the original series — early in the show, one of JR.’s deals left the family in a precarious spot financially and Miss Ellie had reluctantly agreed to let them drill on the ranch, something she’d never wanted to do. At the 11th hour, they didn’t have to.
The older generation is still kicking, though barely in some cases. Bobby (Patrick Duffy) is battling a cancer diagnosis (he’s married now to a third wife, Ann, played by Brenda Strong) and J.R. is in a nursing home suffering from depression. Sue Ellen (Linda Gray) is also in the cast. Cliff Barnes (Ken Kercheval) will be in future episodes. Ray Krebbs (Steve Kanaly) and Lucy Ewing (Charlene Tilton) are sadly reduced to cameos. Let’s hope if the show is a hit, they’re invited back and fleshed out. Tilton, especially, is a fan favorite from years ago. I never had Lucy’s hair but I did appreciate her taste in men — from gay Kit Mainwaring to her hunky doctor husband Mitch (Leigh McCloskey).
“Dallas” 2012 works for several key reasons — one, it’s been long enough now since the original show ended, that it feels fun, not tired, to revisit these characters. Nobody can say how long has to pass for such things to make sense, but pop culture very much unofficially dictates there has to be significant time — decades — before such ideas can float. “J.R. Returns” and “War of the Ewings,” while fun to watch, felt like everyone was beating a dead horse, and few horses were more dead than “Dallas” in its last couple regular seasons when most of the original cast had either long defected or were reduced to glorified cameos or mentions. The reboot, however, manages to revive the long-dormant excitement the show lacked in its final years by casting charismatic young actors in the key roles — Henderson and Brewster especially stand out — but having enough of the original cast around to keep it all grounded in authenticity. Using the original Texas-based exteriors, where several reunions have taken place over the years, is as key as the presence of Hagman, Duffy and Gray.
Principal, sixth from left, joined the cast for a 2004 non-dramatized reunion.
Sadly, but unsurprisingly, Victoria Principal (whose Pam was the original series’ central character in its early years) is a no show. She hasn’t fully shunned the show that made her famous — she showed up for a classic Vanity Fair photo shoot in the mid-’90s and for the 2004 “Return to Southfork” reunion (which featured cast members in a non-scripted format appearing as themselves), but has eschewed any thoughts of reviving her role. She told Ultimate Dallas (ultimatedallas.com, the amazingly thorough fan site) a few years ago the notion seemed rather absurd this many years later. Even so, she was never as chummy with the rest of the cast (Hagman, Duffy and Gray are close friends in real life and gathered regularly even before the show relaunched).
If Principal seems only vaguely interested — Duffy told TV Guide last week they talked by phone recently and she wished him the best on the new show — she’s still more involved than the late Barbara Bel Geddes (Miss Ellie) was in her final years. Not only did she sit out the last season (having left once before but come back), she was a no-show for both the TV movies, the Vanity Fair photo shoot and the 2004 reunion (she may have been ill for the latter — she died of cancer in 2005). She wasn’t, however, entirely reclusive in her later years — she did memorable commentary for a “Vertigo” restoration (she played Midge in the ’58 Hitchcock classic) in ’96. It’s a shame. She and Howard Keel (whose Clayton Farlow was a staple for 10 seasons), now both dead, would have been great additions to the Vanity Fair gathering. People always remember Jock (the late Jim Davis), but Clayton was on the show far longer.
The key to the new show’s success will be the degree to which it manages to maintain this delicate balancing act of old and new. Focus too much on J.R., Sue Ellen and Bobby and it looks like a Motown revival tour. But conversely, if the younger cast gets all the air time, there’s no anchor to the past. The scenes in which the two generations interacted were the best on Wednesday’s premiere — Hagman, who at age 80 has lost none of the lip-smaking relish he brought to what should have been an Emmy-winning role, plays especially well with Henderson, whose John Ross is presented as a manipulative chip off the old block.
A short scene by the Southfork pool with Henderson and Gray was the debut’s best. As Sue Ellen offered her son her support in the never-ending battle over the land (a recurring theme in the original series), Gray’s delivery crackled with tension. She looks amazing. Her icy glares shoot the same daggers they did all those years on the original series.
There were a few shoddy elements — the soundstages that are supposed to be the Southfork interiors lack both the floorplan and dimensions of those of the old show (which themselves did not match the interiors or layout of the real Southfork ranch where the exteriors have always been filmed) — but where it really counts, the new “Dallas” works. Even the opening credits, featuring a savvy twist on the original montage and a deliciously effective re-orchestration of the show’s majestic theme music, work.
It’s off to as solid a start as could possibly be expected.
Arts & Entertainment
78th annual Emmy Awards recapped
What the show lacked in queer representation, it made up for in queer coding
Entertainment has been bittersweet for queer people. We’ve lost Dolly Parton, Bob Mackie, and Tim Curry. We’ve seen a 41 percent drop in queer characters on television due to TV cancellations. So you likely weren’t expecting the Emmys to be a particularly queer affair. And yet, there were some delicious moments that were queer-coded, and many of our favorites were honored.
Mariska Hargitay, who has played our favorite quasi-butch “SVU” detective for 27 years, hosted the festivities. She took home two Creative Arts Emmys for directing the documentary “My Mom Jayne: A Film by Mariska Hargitay,” which also took home an award. She started the ceremony with a parody of “I Love Rock-n-Roll” which featured appearances by Jean Smart, Jennifer Coolidge, and gay Emmy winner Jeff Hiller. There were also weird product placement ads for Marriott and United. #recessionindicators
As for LGBTQ representation, Rhea Seehorn won for playing lesbian character Carol Sturka in “Pluribus.” Alan Cumming took home another Emmy as well for “The Traitors,” beating out RuPaul and “RuPaul’s Drag Race.” “Drag Race” did take home an Emmy for Outstanding Hairstyling For A Variety, Nonfiction, or Reality Program.
“DTF: St Louis” which followed an infidelity that ended in a muder subplot and featured a unique polyamorous threesome was an Emmy darling and earned Emmys for Linda Cardellini and David Harbour.
There were some historical moments: Matthew Rhys took home two Emmys for Best Lead Actor in an Anthology and Best Lead Actor in a Comedy, making him the first actor to win for two of the main categories in one night. Rob Reiner, who received a posthumous Emmy for his role in “The Bear,” beat out 2025 darling Connor Storrie. This broke the record for the longest span between acting Emmy wins at 48 years, which was previously set by his father, comedian Carl Reiner.
To honor Parton, Sally Field (who took home an Emmy) gave a stirring introduction, with Reba McEntire singing a tribute. Macaulay Culkin, Annie Murphy, and Dan Levy paid tribute to Catherine O’Hara, with Culkin pulling heartstrings calling her “mama.”
There was a 50th reunion for “Charlie’s Angels” with Jaclyn Smith, Kate Jackson, and Cheryl Ladd presenting Outstanding Drama Series. They took a moment to shout out and honor Farrah Fawcett. Sarah Michelle Gellar and David Borenaz had their own reunion, giving out the award for Outstanding Lead Actor and alluded to the sad loss of Nicholas Brendan, Anthony Stewart Head, and Michelle Trachtenberg, who all passed within the last two years. Gellar was also able to make a quick crack about her now-cancelled “Buffy” reboot.
The ceremony was also very on it and was quick to add Mackie, who passed earlier this week, to their In Memoriam segment.
Here’s the full list of winners as well as notable Creative Arts Emmy recipients.
Lead Actress in a Limited or Anthology Series or Movie: Sally Field, “Remarkably Bright Creatures“
Lead Actor in a Limited or Anthology Series or Movie: Matthew Rhys, “The Beast in Me“
Supporting Actress in a Limited or Anthology Series or Movie: Linda Cardellini, “DTF St. Louis“
Supporting Actor in a Limited or Anthology Series or Movie: David Harbour, “DTF St. Louis“
Directing for a Limited or Anthology Series or Movie: Steven Conrad, “DTF St. Louis“
Limited or Anthology Series: ‘DTF St. Louis’
Lead Actor in a Comedy Series: Matthew Rhys, “Widow’s Bay“
Lead Actress in a Comedy Series: Jean Smart, “Hacks“
Supporting Actor in a Comedy Series: Stephen Root, “Widow’s Bay”
Supporting Actress in a Comedy Series: Kate O’Flynn, “Widow’s Bay“
Guest Actor in a Comedy Series: Rob Reiner, “The Bear“
Guest Actress in a Comedy Series: Betty Gilpin, “Widow’s Bay“
Directing for a Comedy Series: Hiro Murai, “Widow’s Bay“
Writing for a Comedy Series: Katie Dippold, “Widow’s Bay“
Comedy Series: “Widow’s Bay“
Lead Actress in a Drama Series: Rhea Seehorn, “Pluribus“
Lead Actor in a Drama Series: Noah Wyle, “The Pitt“
Supporting Actress in a Drama Series: Allison Janney, “The Diplomat“
Supporting Actor in a Drama Series: Tom Pelphrey, “Task“
Guest Actor in a Drama Series: Ernest Harden Jr., “The Pitt“
Guest Actress in a Drama Series: Shailene Woodley, “Paradise“
Writing for a Drama Series” Vince Gilligan, “Pluribus“
Directing for a Drama Series” Saul Metzstein, “Slow Horses“
Drama Series: “The Pitt”
Structured Reality Program: “Antiques Roadshow”
Unstructured Reality Program: “Love on the Spectrum“
Host for a Reality or Reality Competition Program: Alan Cumming, “The Traitors“
Directing for a Reality Program: Ben Archard, “The Traitors“
Reality Competition Program: “The Traitors“
Writing for a Variety Series: “The Late Show with Stephen Colbert“
Directing for a Variety Series: Yvonne De Mare, “The Late Show with Stephen Colbert“
Variety Series: “The Late Show with Stephen Colbert“
Variety Special (Live): “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Variety Special (Prerecorded): “The Muppet Show“
Directing for a Variety Special: Hamish Hamilton, “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Short Form Comedy, Drama or Variety Series: “Colbert Before Air“
Short Form Nonfiction or Reality Series: “Inside The Pitt“
Performer in a Short Form Comedy or Drama Series: Desi Lydic, “The Daily Show: Desi Lydic Foxsplains“
Directing for a Documentary/Nonfiction Program: Mariska Hargitay, “My Mom Jayne: A Film By Mariska Hargitay“
Documentary or Nonfiction Special: “My Mom Jayne: A Film by Mariska Hargitay“
a&e features
Acclaimed Chef Patrick O’Connell’s memoir reveals the arc of a life well lived
Overcoming obstacles to serve everyone from Jerry Falwell to Queen Elizabeth
Renowned three-Michelin-star Chef Patrick O’Connell says food and wine hold a unique ability to bring people together. Indeed, he has served everyone from right-wing zealot Jerry Falwell to Britain’s Queen Elizabeth during his decades at the beloved Inn at Little Washington in rural Virginia.
O’Connell’s compelling new memoir, “Main, Middle & Gay” is out Sept. 15 from Celadon Books and offers a deeply personal account of how he transformed his love of food and affinity for the finer things into an iconic inn and restaurant that draws diners from around the world nearly 50 years after it opened in 1978.
O’Connell is launching the book with an event on Sept. 18 at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema. He met Andrés just after Andrés began to work in D.C. and was “on fire with ideas.”
“We sat next to each other at Charlie Trotter’s restaurant and the meal went on for hours and we had a natural rapport,” O’Connell told the Blade in a recent interview. “The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell said he’s excited to hold the event at Lisner.
“I studied theater at Catholic University and transferred to GWU so it’s a coming home party and Lisner has been there since I was a kid and it was always like D.C.’s Carnegie Hall. It feels like going home to my old stomping grounds.”
O’Connell hopes to bring the book to life visually at the event and he has produced a short film that will be screened.
The book traces the self-taught O’Connell’s remarkable journey from rural paperboy and short-order cook to proprietor of one of the world’s most celebrated restaurants and Relais & Châteaux hotels. Along the way we learn about the many challenges he faced — from distrustful and homophobic local residents in Washington, Va., to an expensive, public “divorce” from his longtime romantic and business partner, Reinhardt Lynch.
“It parallels the evolution of American cuisine over 50 years,” he said. “It’s a rare perspective to be in the trenches for that long.”
O’Connell writes candidly about his relationship with Lynch. The two opened the restaurant together — O’Connell running the kitchen and Lynch handling the business. But O’Connell’s accolades and growing notoriety led to jealousy that triggered a protracted falling out and dissolution of both their personal relationship and business partnership. Lynch, as recalled by O’Connell, attempted to secretly sell his 50 percent of the business but ultimately agreed to sell his stake back to O’Connell for a reported $17.5 million. “The Washington Post ran with it as a salacious celebrity divorce story and included all the financial details,” he writes.
After taking full control of the Inn just as the recession of 2008 hit, O’Connell writes of the scrutiny of guests who assumed Lynch’s absence would lead to a slip in quality. “The place couldn’t be just as good as ever. It would have to be better.”
What happened next proved a royal opportunity as Queen Elizabeth visited Virginia to commemorate the 400th anniversary of the founding of the state and O’Connell was asked to cater a reception. This chapter is filled with juicy details and behind-the-scenes anecdotes about the pressures of cooking for the Queen. The subsequent media attention proved lucrative for the Inn and photos of the Queen’s visit still hang in the Inn.
There are references to O’Connell’s sexual orientation throughout the book and he doesn’t shy from addressing his long relationship with Lynch or the resistance the couple encountered when they settled in sleepy Washington, Va.
“I didn’t realize that I was walking into a prejudiced hornet’s nest that I wasn’t fully prepared for and there was a great deal of hostility in part because they didn’t understand anything about what we were attempting to do here so everything about us and our desire to run a fine restaurant was foreign to them,” O’Connell told the Blade. “The irony of a place opening in the center of town of 150 people and at that time the word ‘gay’ wasn’t used here. It was as if they didn’t have space in their consciousness for such a thing. We were regarded as counter culture people.
“The restaurant became a success almost overnight and the locals couldn’t understand what the buzz was about,” O’Connell continued. “They thought food is food and why would anyone drive 60 miles out here for food. They became resentful of the ‘outsiders’ who came. Two outsiders were opening a restaurant and drawing other outsiders out here to a place where there weren’t many jobs. There was resentment on many levels by some — not all. They thought it would go away.”
But O’Connell said he never made his sexuality the focus of his work. Rather, he wanted to use food to bring people of all backgrounds together.
“I never made a point or attempted to make that a central focus on my work,” he said. “I felt that I had found my spot in the universe where I belonged, I loved living here, it was a sanctuary.”
O’Connell’s insistence that everyone is welcome has sometimes created tension and negative press, as when President Trump presented him with a National Humanities Medal that brought criticism from some progressives.
“We see a fascinating clientele here; we don’t judge and we’re not political,” he said. “When people come they are entitled to our hospitality.”
One of those people was televangelist and notorious homophobe Jerry Falwell, who made a reservation at the Inn years ago. O’Connell’s instruction to the staff was to treat Falwell like any other guest.
“We have an image of someone who maybe we would think would be hostile or judgmental and they often surprise us,” O’Connell said. “We held our breath and here’s Falwell working the tables and saying this is the best meal I’ve ever had, aren’t these two guys great and we thought he’s doing PR for us and he’s supposed to be the devil.”
O’Connell said he sees that dynamic play out night after night at the Inn. One of the most conservative national Republican figures, he said, is a regular and Vice President JD Vance dined at the Inn recently. Focusing on the food and hospitality for all constitutes O’Connell’s brand of activism.
“Food does bring people together,” he said. “And you’re doing your part in erasing preconceived judgements.”
He said he and his team did more to advance understanding and acceptance by focusing on hospitality than if “we were out marching.”
As evidence, he said, there are more and more gay couples moving to the area and the town’s mayor, Joe Whited, is gay.
“We’re the biggest employer in the county and largest taxpayer,” he added. “The Inn pays the town almost $1 million per year and property values are getting to be like Palm Beach. And that wasn’t a goal it was a byproduct of doing something as well as it could be done.”
But the book isn’t hagiography. O’Connell revisits traumatic events, like childhood bullies who attacked him for wearing a Little Red Riding Hood costume for Halloween and a sexual assault he endured as a young teenager aboard a bus.
“I don’t know why I couldn’t call out for help or try to make the man stop,” O’Connell writes of the incident. “I didn’t want to call attention to the situation and felt completely implicated. Once it began there was no stopping it.”
Interestingly, O’Connell told the Blade that one of the things he learned in writing the book is how little he’s changed since childhood.
“People tend to lock away a lot of childhood memories for good reason and in a book you’re reliving them and bringing them to life,” he said. “And my revelation is that I don’t think I’ve changed much since I was six and I think most people’s identity is pretty developed in their very early years and their personality is clear. What amused me most is I’m doing the same things now that I did in miniature as a five and six year old.”
As for popular TV shows about the restaurant business, O’Connell says he doesn’t watch them.
“It’s fake,” he said. “There are much more colorful characters and it’s much more exciting in real life. Nobody seems capable of capturing that. So maybe this [book] will have the effect of doing that and showing what it takes.”
O’Connell said the books and stories he most enjoys reading are those that start in childhood and carry through until late in life. He has certainly delivered that in “Main, Middle & Gay,” a moving, fearless memoir filled with the unexpected and natural drama that revisits a uniquely American life.
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Celebrity News
Fashion icon Bob Mackie dead at 87
Designing legend to all the divas, gone but not forgotten
To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion.
The news broke on his Instagram account Monday, Sept. 14, with the message:
“It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a fashion and costume designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs, Calif., due to pneumonia.
At 87, Mackie was the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbra Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.
His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on “The Judy Garland Show.” The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.
Mackie then went on to do all of the costumes for “The Carol Burnett Show,” creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market.
He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including “The Sonny and Cher Show.” He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.”
Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the “Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of “Hacks.”
Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for “Lady Sings the Blues.” He won a Tony Award for “The Cher Show.” He won nine Emmy Awards and received 30 nominations for his prolific television work.
Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving “RuPaul’s Drag Race”‘s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series.
It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.
Advocate, Out parent company adds Trump supporter to board, prompting outrage
78th annual Emmy Awards recapped
Indonesia’s top Muslim clerical body proposes criminalizing LGBTQ people, advocacy
Hands Off the Arts to form ‘human chain’ around Kennedy Center
LGBTQ issues, attacks on Democrats dominate unusual RNC midterm convention
Multi-billion-dollar 9/11 Victim Compensation Fund to continue until 2090
LGBTQ Military Happy Hour set for Sept. 15
Calendar: September 11-17
Comings & Goings
