Arts & Entertainment

‘Dallas’ reboot in fine form

Continuation of classic series deftly balances old and new

Published

14 years ago

June 16, 2012

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.

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Movies

10 years later, we still can’t shake Barry Jenkins’s ‘Moonlight’

Landmark queer film returned to theaters this past weekend

Published

6 hours ago

October 7, 2026

Michael K. Lavers

(Screenshot via YouTube)

It all started back at the Telluride Film Festival, where “Moonlight” had its world premiere in 2016, kicking off a successful awards season run. It instantly became the year’s critical darling, and it wound up winning three Academy Awards, including Best Picture, Best Adapted Screenplay (for Jenkins), and Best Supporting Actor (for Mahershala Ali.)

But there’s a world where an independently made film like “Moonlight,” featuring an all-Black cast with mostly unknown actors, and a story exploring how queerness intersects with toxic masculinity and race, gets easily overlooked. The fact that the film won Best Picture on Hollywood’s biggest stage not only cemented its place in film history, but helped the story reach more Black and queer people.

Adapted from Tarell Alvin McCraney’s unproduced, autobiographical play “In Moonlight Black Boys Look Blue,” Jenkins follows a boy named Chiron, introduced to the audience as Little, over the course of three pivotal moments in his upbringing. Set in Miami, the film tracks Chiron’s days as an outcast struggling to make it through elementary school, to his first sexual encounter with another boy, to his adult days making a living as a drug dealer. Chiron suffocates while living with his abusive, drug-addicted mother (Naomie Harris) and eventually finds refuge and safety in the home of surrogate parents Juan (Ali) and Teresa (Janelle Monáe) as he struggles to reckon with his queerness.

Jenkins’s images instantly became iconic: Juan holding Little in the ocean, a moment reminiscent of a young boy’s baptism; Chiron resting his head on Kevin’s (André Holland) shoulder as the two reconcile their love for one another; Little looking back at the audience as the waves crash.

The film mainly features locals from Miami. One of the smartest choices Jenkins and his casting director, Yesi Ramirez, made when shaping out Chiron’s journey was casting three different actors (Alex Hibbert, Ashton Sanders, and Trevante Rhodes) to play the character as he physically comes of age. Jenkins deliberately never had the three actors meet despite portraying the same character — quite the atypical approach to casting.

“I wanted [that decision] to be a comment on the way of the world we live in, and how society has this effect on these young men who grow up in a community like the one depicted in the film,” Jenkins said in a Creative Screenwriting interview in February 2017. “To me, the best way to show that was to illustrate this change in the character, and what happens to the people who are playing him at each stage.”

In the decade since “Moonlight”’s release, dozens of filmmakers cite Jenkins as one of their biggest influences, including Joe Talbot (“The Last Black Man in San Francisco”). And you can see his film’s footprints all over “Nickel Boys, If I Go Will They Miss Me” and “Waves,” all films that use evocative imagery to tell grounded, Black-led stories.

To date, “Moonlight” remains the lowest-budget film to ever win Best Picture, made for a mere $1.5 million dollars. It was also the first film that A24, the indie distributor that was still building a name for itself back in 2016, fully financed and produced itself. “Moonlight” went on to gross over $60 million at the global box office, largely thanks to the Oscars platform.

In our current political and media landscape under the Trump-Vance administration, “Moonlight” has the potential to save even more lives. In the early days depicted in Chiron’s upbringing, he is taught to live with shame, to keep his head down at school. It’s all about survival. But by the end of the film, Chiron reconnects with Kevin and finds himself remembering all the emotions he felt after being touched by a man for the first time. It’s a small step, a small embrace, but a crucial one for Chiron to start coming to terms with himself.

Jenkins still gets emotional when watching scenes back from the film now. Speaking with Vanity Fair at this year’s Telluride Film Festival, where “Moonlight” screened for its 10th anniversary, Jenkins admitted he was a “crying mess” when revisiting the last 15 minutes of the film earlier in the year.

“Maybe over the next few months I’ll get some more understanding of it, but I think it was just how meaningful it was that we created this thing,” Jenkins said. “It’s not about the film itself, but just how meaningful it was that we actually did it.

In the decade since “Moonlight”’s release, Jenkins went on to direct another acclaimed film, “If Beale Street Could Talk,” and recently made “Mufasa: The Lion King.” He’s set to return to his more independent roots with “Be My Baby” starring Zendaya, which will also be distributed by A24, and an Alvin Ailey biopic. The Oscar winner continues to mentor emerging filmmakers and writers through the Sundance Labs, visiting colleges around the country to teach what he learned from making his breakout film.

Now that “Moonlight” is back in theaters, it’s the perfect opportunity for queer and Black people to experience this tender, intimate, nuanced film on the big screen. It’s a modern classic with the potential to continue making people feel seen and embraced for every aspect of their identity.

Theater

‘Some Like It Hot’ a wild ride at renovated Bernard Family Theatre

Exhilarating show brimming with fun, feeling, and focus on gender exploration

Published

6 hours ago

October 7, 2026

Patrick Folliard

Tavis Kordell as Jerry/Daphne and Jacob Tischler as Joe/Josephine in ‘Some Like It Hot" at Olney Theatre Center. (Photo by Teresa Castracane)

“Some Like It Hot”
Through Nov. 8
Olney Theatre Center
2001 Olney-Sandy Spring Rd.
Olney, Md.
Olneytheatre.org

There’s reason to celebrate at Olney Theatre Center. Currently, they’re debuting their renovated Bernard Family Theatre while inaugurating the soaring new space with a regional premiere of “Some Like It Hot,” the musical adaptation of Billy Wilder’s classic 1959 comedy.

Toying with this cinematic gem took some cojones, but it works.

The film and the Tony Award-winning musical share similar plot lines: After witnessing a mob hit, Chicago musicians Joe and Jerry need to leave town. So, they don dresses, join Sweet Sue and Her Society Syncopators all-female band, and board a train headed for warmer climes (Southern California). As Josephine and Daphne, they experience new slants on romance, gift giving, and the male gaze. It’s funny and illuminating.

Helmed by out artistic director Jason Loewith, OTC’s exhilarating production is brimming with fun, feeling, and the musical’s focus on Black identity and gender exploration (recreated for Broadway by writers Matthew López /Amber Ruffin, and songwriting team Marc Schaiman/Scott Whittman).

OTC’s Loewith embraces it all while masterfully bringing together big dance numbers, romantic interludes, slapstick, and what’s more, he makes it look easy.

It’s 1933, deep in the Great Depression, and no-nonsense bandleader Sweet Sue (the excellent Ashleigh King) sets the speakeasy scene with “What Are You Thirsty For?” (not an unusual inquiry during the Prohibition era).

Away from Chicago at San Diego’s glamorous Coronado Hotel, matters become further complicated for Joe (Jacob Tischler) as he pursues the band’s irresistibly unreliable Sugar Kane, sensitively played by the talented Montria Walker. (A couple of her songs, including “A Darker Shade of Blue,” describe a rural Georgia, Jim Crow backstory.)

Meanwhile, Daphne (nonbinary actor Tavis Kordell) is learning a new love language with impish root beer fortune heir Osgood Fielding III (terrific out actor Edward Juvier).

Drinking in a Mexican cantina not far from the hotel, Osgood tenderly serenades Daphne with “Fly, Mariposa, Fly,” a romantic number about metaphorically spreading wings, and transformation. The beloved’s powerful reply number “You Coulda Knocked Me Over with a Feather” is filled with emotional revelation.

In its examination of gender fluidity and self-discovery, the musical isn’t an indoctrination. Instead, audiences accept what’s happening on stage, and soon they’re seduced and painlessly invested in the characters’ wellbeing.

Frank Labovitz’s intelligent costume design is brimming with storytelling. Joe and Jerry’s quick change from guys to girls isn’t flashy — at first. It’s all drab colors, modest hem lengths…street clothes pulled from the Great Depression. Later it’s showbiz silver sequins.

An adept and marvelous actor, Tishler does double duty as the straight and funny man. Even when dolled up for gigs, his Josephine destroys the look with men’s black socks, the dowdy wig, and cockeyed glasses, hilariously setting up a running gag of how Joe, as Josephine, looks so much older than the other girls in the band.

For “Some Like It Hot,” Karla Puno Garcia’s wide-ranging choreography style ranges from those early 1930s flapper flicks (think the young manic Joan Crawford) to something more elegant, Joe and Sugar dancing à la Fred and Ginger in the show’s dreamy number “Let’s Dance the World Away.” Another highlight is the second act’s penultimate number “Tip Top Trouble,” a wild but meticulously staged, gloriously gender bending, sixteen-person, cops and robbers chase sequence.

Top notch music director Christopher Youstra reliably delivers Marc Shaiman’s swinging, 1920s and 30s-inspired score played by a mostly hidden 10-piece band and mimed onstage by Sue’s lively Syncopators.

And in meeting the specialness of the challenge, scenic designer Ryan Douglass transforms the newly renovated theater into a good club setting featuring a colorful inlaid thrust stage surrounded by cabaret tables where just several short yards ahead of Row C, a contented couple is served a bottle of Champagne while settling in before the show starts.

Today, the Bernard Family Theatre with its raftered ceiling and industrial vibe suggests past and promise for the future.

For now, experience the revamped wild ride in a wonderfully redone space.