Uncovered

TV Guide’s ace columnist, William Keck, delivered a must-read preview of “Dallas’s” third season earlier today. Now it’s time for fans to fill in the blanks with their own theories about what we might see when TNT begins televising the new episodes on Monday, February 24.

• One of Keck’s most intriguing tidbits: The new season will feature a pregnancy storyline. Almost any of the show’s leading ladies could become expectant mothers, but my money is on Emma (Emma Bell). Imagine the complications that would ensue if John Ross (Josh Henderson) impregnates his wild-child mistress! Pamela is also a possibility, although would the producers force Julie Gonzalo to wear a padded tummy for a second season in a row? One out-there contender: Suppose Ann (Brenda Strong) delivered a late-in-life bundle of joy to Bobby (Patrick Duffy)?

• The new season will also include a shooting, a death and a wedding, Keck reports. I have no idea which characters might get shot and/or die, but the nuptials seem easy to figure out: After John Ross and Pamela’s quickie wedding in Las Vegas at the end of Season 2, aren’t they due for a lavish Southfork ceremony?

• According to Keck, Christopher (Jesse Metcalfe), who sports a beard in the Season 3 cast portrait that accompanies the TV Guide article, will meet his new love interest Heather (AnnaLynne McCord) when he stumbles upon her fighting with her ranch hand ex-husband. Again, this is pure speculation, but a recent tweet from the set suggests Donny Boaz, who appeared last season as Bo, the ranch hand who supplied Emma will pain pills, will be back next season. Could he be Heather’s ex?

• Keck tells us we’ll finally meet Joaquin, the mystery man Elena (Jordana Brewster) met in Mexico during the second-season finale. The article doesn’t mention who has been cast in this role, but I wonder: Will Nicolas Trevino, the new character played by Juan Pablo Di Pace, turn out to be Joaquin?

Consider this: On April 23, about a week after TNT showed the finale, the Elena character tweeted, “Can’t wait to introduce you all to my uncle Joaquin. He’s quite a character. And a potentially powerful ally.” This tweet is no longer in the character’s feed. Could this mean the producers’ vision of Joaquin has evolved from someone avuncular to someone younger like Di Pace?

• Sue Ellen (Linda Gray) will continue drinking in Season 3 after discovering John Ross is cheating on Pamela. According to Keck, “Sue Ellen’s struggle will climax in a midseason cliffhanger similar to one of the original series’ memorable season enders.” What could this mean? Is Sue Ellen going to wreck her car? Shoot someone? Make another movie?

• Keck reports Bobby might cheat on Ann, either with a “familiar face from the past (Priscilla Presley’s Jenna Wade?) or a lovely newcomer.” Nothing to add here, except this: !

• It looks like “Dallas” won’t forget Larry Hagman anytime soon. Showrunner Cynthia Cidre tells Keck, “We open with Bobby at the Ewing cemetery looking at the graves of J.R., Miss Ellie and Jock, saying, ‘I guess I’m the only one left now.’” The only question raised by this revelation: How many tissues will we need to get through that scene?

What do you make of the storylines previewed by TV Guide’s William Keck? Share your ideas in the comments section below.

Who’ll it be?

It’s almost time to announce Dallas Decoder’s Person of the Year, a designation I give to the individual — or individuals — I feel made the most important contribution to the “Dallas” franchise during the past 12 months.

In 2012, I chose Larry Hagman for the inaugural honor in recognition of his work during TNT’s first season of “Dallas.” This year’s award may go to another actor or someone from behind the scenes, or it could go to a group of people. (It’s a lot like Time magazine’s version, although mine is much more prestigious, don’t you think?)

Contenders include the “Dallas” VIPs pictured above: Executive Producer Michael M. Robin, Linda Gray, Jesse Metcalfe, Brenda Strong, Executive Producer Cynthia Cidre, Patrick Duffy, Josh Henderson, Jordana Brewster and Julie Gonzalo.

Before I reveal my selection, I want to hear your choices. Share them in the comments section below, post them on Dallas Decoder’s Facebook page or tweet them to @DallasDecoder.

I’ll reveal Dallas Decoder’s Person of the Year for 2013 during my next #DallasChat on Monday, December 16. I hope to see you there.

Brunette on the couch

Good actors make you believe. Great actors make you feel. In 2013, Linda Gray made us feel every emotion Sue Ellen Ewing experienced — the disappointment over losing the election, the shame over losing her sobriety, the heartbreak over losing J.R. Gray shone all season long, but especially in “J.R.’s Masterpiece,” the funeral episode where she bared her soul and became the audience’s avatar. Through her, we were able to express our own grief over the death of our hero. When Sue Ellen called J.R. the love of her life and touched his casket, it wasn’t just the climax of a great performance. It was a moment of shared catharsis for “Dallas” fans.

Linda Gray is Dallas Decoder’s Woman of the Year because no one else moved us, delighted us and impressed us quite like she did. Sue Ellen has been “Dallas’s” heroine for a long time, but in 2013, Gray stepped into the void created by the death of Larry Hagman, her longtime friend and co-star. Like Hagman — and like Dame Maggie Smith, one of Gray’s own idols — Gray creates thrilling television just by showing up. Consider the “J.R.’s Masterpiece” scene where Sue Ellen sits in J.R.’s bedroom and takes her first drink in 20 years. It was a mesmerizing moment — just as moving if not more so than the graveside eulogy — and yet Gray never uttered a single line of dialogue. The scene consisted of little more than Sue Ellen, a bottle of bourbon, an old wedding picture, an unopened love letter and that sad, sad song (Tara Holloway’s “The Bottom”) playing in the background. That’s it. But when Gray is your star, what more is needed?

To be fair, Gray gets plenty of support from the rest of the “Dallas” cast — as strong an ensemble as any working in television today — and the people behind the scenes, including Michael M. Robin, who directed “J.R.’s Masterpiece” and has a knack for eliciting wonderful performances from his actors. Gray’s most crucial collaborator, though, is probably showrunner Cynthia Cidre, who gave her some of her best material ever as Sue Ellen. Between the two of them, Gray and Cidre showed us Sue Ellen in all her complex, contradictory glory: The fiercely protective mama bear. The take-no-prisoners businesswoman. The struggling alcoholic. And most fascinating of all: the playful flirt, whose vibrant sexuality at age 70-something makes Sue Ellen a prime-time pioneer.

Looking Back

Choosing Gray as Woman of the Year will come as no surprise to Dallas Decoder readers. By now, my admiration for this actress and her character are no secret. Gray was kind enough to grant me an interview a few months ago, and the hour or so that I spent sitting at my dining room table, talking to her on the phone, remains one of the great experiences I’ve had since starting this website. But please know this: My affection for Gray is rooted in my genuine respect for what she has achieved as an actress. Like Sue Ellen, she has worked hard for her success.

Consider: Sue Ellen had to fight for her place in the world. She was not born into the Ewing family, and marriage to J.R. offered public prestige but private pain. For years, he neglected Sue Ellen’s needs and dismissed her potential, and she turned to the bottle to cope with her unhappiness. But the ex-beauty queen’s spirit ran deeper than anyone knew, least of Sue Ellen herself. Eventually, she conquered her demons and won the admiration of the other Ewings, including J.R.

Gray’s career has had its ups and downs too. During “Dallas’s” earliest days, she was notoriously dismissed as “the brunette on the couch” and excluded from the show’s opening credits. Slowly, the producers noticed her talent and chemistry with Hagman and beefed up her role. At the height of “Dallas’s” popularity, Gray even picked up an Emmy nomination for best dramatic actress. By the time she departed the original show at the end of its 12th season, Sue Ellen rivaled J.R. as “Dallas’s” most popular character. (It’s no coincidence the show plunged from 26th to 43rd in the yearly Nielsen rankings after Gray left.)

Yet when TNT brought “Dallas” back last year, it felt a little like déjà vu all over again — and not in a good way. The producers struggled to find a place for Sue Ellen in the storyline, leaving her out of two early episodes altogether. Fans were outraged, and the Powers That Be soon learned the same lesson their predecessors did: Don’t mess with Miss Texas. In Season 2, Sue Ellen once again became a force to be reckoned with, wheeling and dealing against the Ewings’ enemies, even as she wrestled privately with her old demons and J.R.’s loss.

Moving Forward

Some of my fellow fans are concerned about Sue Ellen’s future. Cidre has confirmed the character will continue drinking when “Dallas” begins its new season in February, and I get the feeling Sue Ellen’s problems are going to get worse before they get better. But I’m not worried. For one thing, I’m confident Gray is going to continue to deliver great performances, no matter what she is called upon to do. I also believe Sue Ellen will eventually get back on track and start moving forward again. She’s come too far to turn back for good.

Just look at the above TNT publicity still, which comes from the 2013 episode “A Call to Arms.” It shows Sue Ellen seated on the edge of the sofa in the Southfork den, where she’s helping her fellow Ewings formulate a plan to fight back against their latest foes. She wears a determined expression and looks like she’s about to spring into action, which is precisely what happens in that scene. The photo tells us everything we need to know about this actress and the character she has embodied for so many years. Linda Gray is still the brunette on the couch, except now the brunette is the star of the show and her character is helping to call the shots.

Don’t mess with Miss Texas.

Share your thoughts about Linda Gray and Sue Ellen Ewing in the comments section below and read our list of the year’s other VIPS.

Linda Gray is Dallas Decoder’s Woman of the Year, but she isn’t the only person who shaped the “Dallas” franchise in 2013. Here are five more.

The boss

Cynthia Cidre. Larry Hagman’s death forced the “Dallas” showrunner to rewrite Season 2 on the fly, but she proved up to the challenge — and then some. Cidre penned the exquisite “J.R.’s Masterpiece” funeral episode, which lovingly honored the franchise’s biggest star and kicked off the fun, freewheeling “Who Killed J.R.?” mystery. Cidre also deserves applause for answering the question that has bugged “Dallas” diehards for 25 years: Whatever happened to Pam Ewing? Some fans didn’t like the answer, but if you ask me, Cidre redeemed the character and fixed one of the old show’s biggest blunders. Bravo.

The glue

Patrick Duffy. This was the year Bobby Ewing got pissed! He also got sad, frustrated and more than a little devious. Duffy did a beautiful job conveying Bobby’s internal conflict, especially when he read J.R.’s letter in the moving season finale. And just as Bobby held the Ewings together, Duffy played an influential role behind the scenes. Before Cidre proceeded with the twist ending to “Who Killed J.R.?” — he was dying of cancer and arranged his own death — she sought the blessing of two people: Hagman’s son Preston and Duffy. That says a lot about the respect people feel for Patrick Duffy. He’s earned it.

The future

Josh Henderson. No one on the new “Dallas” has faced as much scrutiny as Henderson, who had the unenviable task this year of sliding into the boots of the legendary Larry Hagman. But if Henderson felt any temptation to imitate his on-screen daddy, he wisely resisted it. Where Hagman swaggered, Henderson struts. Where J.R. was confident, John Ross is cocky. In other words: Henderson has given John Ross his own brand of cool. This young actor has become the future of the “Dallas” franchise, and if his performance this year is any indication, we’re in good hands. I can’t wait to see what he does next year.

The genius

Ken Kercheval. After Hagman, Kercheval has always been “Dallas’s” most fascinating actor. In 2013, he was as electric as ever. Longtime fans still wonder what made Cliff so evil, but I just sat back and enjoyed the ride Kercheval took me on, especially in the shocking scene where Cliff ordered the bombing of the Ewing Energies rig. Besides, as Cliff tightened his squeeze on the Ewings, Kercheval offered more flashes of his old character’s combustability. The scene where Bobby hands his enemy the keys to the Ewing kingdom? That was classic Cliff. You may hate his character, but Kercheval is brilliant.

The enigma

Victoria Principal. Hill Place Blog suggested I include Principal on this list as a joke, but the more I thought about it, the more it made sense. As Hill Place put it: What other “Dallas” star generated more discussion, debate and dissent this year without appearing in a single frame of film? Principal remains a powerful figure in the “Dallas” mythology. Like a lot of my fellow Principal fans, I wish Pam had come home to Southfork in 2013, but the actress’s public statement in March made it clear she has no interest in reprising the role. (Sigh.) So rest in peace, Pam. Like your old rival J.R., you won’t be forgotten.

Who did I miss? Share your choices for Dallas Decoder’s 2013 VIPs in the comments section below.

Miss Proxy

Entertainment Weekly’s latest issue offers some new nuggets about “Dallas’s” third season. If you don’t like spoilers, stop reading now.

Here are two tidbits: Elena (Jordana Brewster) will become Cliff’s proxy at Ewing Global and the new season will include two shootings. You’ll recall TV Guide’s recent article reported the new season will include “a shooting.”

The report also includes quotes from Josh Henderson and showrunner Cynthia Cidre, who reveals Judith Light’s nickname on the set. I won’t give away anything more — your Dallas Decoder is a big believer in supporting great ink-on-paper publications like EW — but if the magazine posts the piece online, I’ll link to it here.

Besides, the article also includes a smoking hot publicity still of Jesse Metcalfe and AnnaLynne McCord — and that alone is worth the newsstand price.

You’ll find the story in EW’s winter TV preview, which is dated January 10 and features the cast of “Downton Abbey” on the cover. TNT will begin showing the new “Dallas” episodes on Monday, February 24.

Are you excited about “Dallas’s” third season? Share your thoughts in the comments section below and read more #DallasS3 news from Dallas Decoder.

Hunger games

More news about “Dallas’s” third season continues to trickle in. (You know the drill: If you don’t like spoilers, stop reading how.)

Executive Producer Cynthia Cidre tells TV Line the series has “embraced bad this season, more so than … in Season 1 and Season 2.” The piece also includes Cidre’s comments on three fan favorites — Sue Ellen (Linda Gray), John Ross (Josh Henderson) and Judith (Judith Light) — and it suggests the mystery man Elena went to see in Mexico at the end of last season is Nicolas Trevino, the new character who’ll be played by Juan Pablo Di Pace.

Meanwhile, Entertainment Weekly’s winter television preview includes comments from Henderson on John Ross’s insatiable appetite next season. (Hint: Henderson isn’t talking about his character’s interest in Carmen’s cooking.) EW’s latest print edition has additional information about the new season too.

Are you excited about “Dallas’s” third season? Share your thoughts in the comments section below and read more #DallasS3 news from Dallas Decoder.

If Christopher’s search for Pam on TNT’s “Dallas” reminded you of Pam’s search for Rebecca on the original series, you’re not alone. There are several similarities between the two storylines — and also one big difference, reminding us how history never repeats itself exactly, even on “Dallas.”

This one is kind of complicated, so let’s take it from the top. Pam grew up believing her mother, Rebecca Barnes, died when she and her brother Cliff were children. Many years later, when Pam and Cliff’s daddy Digger died, Pam realized there was no record of Rebecca’s demise, so she hired private eye John Mackey to find out what happened to her mother. Pam was shocked when Mackey told her Rebecca was still alive; according to his investigation, when Pam and Cliff were kids, Rebecca ran away, changed her name to Rebecca Burke and married Houston industrialist Herbert Wentworth. Pam went to the Wentworth mansion to confront Rebecca, who initially denied that she was Pam’s mom. Eventually, Rebecca fessed up — it seems she abandoned her family because she was miserable being married to Digger — and Pam forgave her.

History began to repeat itself when Victoria Principal left “Dallas” in 1987. Despite the pain Rebecca’s abandonment caused Pam, the writers explained Pam’s departure by having her leave Bobby and Christopher after she was badly burned in a car accident. One year later, the producers brought Pam back for a single scene — this time played by Margaret Michaels — when Cliff tracked her down in Houston and begged her to come home. Pam rejected Cliff’s invitation, explaining that she had moved on with her life. Only after Cliff left the room did the audience learn the truth: Pam only had months to live and wanted to spare Bobby, Christopher and Cliff the pain of having to watch her die. Who knew Pam was such a martyr?

Of course, the audience never saw Pam die, so fans like me spent years clinging to the hope that Principal would one day reprise the role. Finally, the second season of TNT’s “Dallas” seemed to lay the groundwork for the second coming of Pam Ewing — and in a nice touch, the storyline echoed the past. Consider: Digger’s death prompted Pam to embark on her search for Rebecca. Thirty-three years later, Christopher began his hunt for Pam after another death in the family: the murder of his Uncle J.R., who was shot and killed while trying to track down Pam, hoping to persuade her to help stop Cliff’s war against the Ewings.

This is where the similarities begin to mount: Christopher, picking up where J.R.’s search left off, discovered Pam had changed her name to Patricia Barrett — just like Pam learned the presumed-dead Rebecca Barnes had adopted the identity of Rebecca Burke. Meanwhile, Christopher’s obsession with finding Pam started to strain his relationship with his fiancée Elena, who was distracted by her brother Drew’s role in the Ewing Energies rig explosion. It wasn’t unlike the situation Pam once found herself in, when her preoccupation with finding Rebecca took its toll on her marriage to Bobby, who was distracted by his brother J.R.’s role in the Ewing 23 explosion.

More parallels: In the TNT episode “Guilt by Association,” Christopher sat in a car and watched the Zurich home where Pam supposedly lived; the shot was reminiscent of the scene in the classic episode “The Prodigal Mother” where Pam and Mackey (Richard Herd) staked out Rebecca’s Houston residence. Also: Christopher learned Pam had married her plastic surgeon, David Gordon, just like Rebecca had wed Herbert Wentworth. And when Christopher rushed into the Gordon home to confront Pam, he was crushed to hear the good doctor say his wife didn’t want to see her son — just like Pam was devastated when she entered the Wentworth mansion and Rebecca rejected her.

This brings us to the point where the two storylines diverge. On the original show, after Rebecca denied Pam, she felt guilty and went to see her daughter in Dallas, where the two women sat on a park bench and Rebecca tearfully told Pam that she was, in fact, her mother. Poor Christopher never got a park-bench scene on the TNT series. Instead, he learned an uglier truth: Cliff had paid Gordon to lie and say Pam had changed her name and married Gordon because as long as everyone believed Pam was alive, Christopher couldn’t inherit her shares of Barnes Global. Who knew Cliff was such a monster?

Christopher’s search concluded on a heartbreaking note, but it’s probably the only ending that makes sense. Principal has made it clear she isn’t interested in playing Pam again — and recasting the part was out of the question since “Dallas” fans don’t have a history of welcoming new performers in iconic roles. (See “Reed, Donna”) Besides, even if Principal was willing to return, how could the show have justified Pam’s decision to stay away from her family for more than 25 years? Please don’t tell me Katherine has kept her locked up in a dungeon all this time.

As far as I’m concerned, TNT showrunner Cynthia Cidre fixed one of the old “Dallas’s” biggest blunders — the ham-handed writing surrounding Principal’s 1987 exit — and redeemed Pam by revealing that she was, in fact, trying to come home to Bobby and Christopher when she died. It’s sad, I know. But at least we have closure. How often does that happen on “Dallas”?

‘I Want to See Her’

Calm?

In “The Prodigal Mother,” a fourth-season “Dallas” episode, Pam (Victoria Principal) walks briskly into her bedroom, followed by Bobby (Patrick Duffy).

BOBBY: Honey, you’re all wound up. You hardly touched your dinner. Don’t leave tonight. Wait till morning.

PAM: Bobby, I’ve waited all my life to see this woman. [Retrieves a suitcase from the closet, sets it on the bed, unzips it]

BOBBY: Well, it would be better for her if you saw her when you were calmer. And what if Mackey made a mistake? And even if he didn’t, she might not be the kind of woman that you think she is.

PAM: I don’t care what kind of woman she is. My mother’s alive. I want to see her.

BOBBY: I just wish I could go with you.

PAM: Well, I’m sure the airline would sell you a ticket. [Begins packing]

BOBBY: Honey, I can’t leave now. You know that. Not with the wells still on fire. I’ve got Scotty Hawthorne flying in here with a crack fire-shooting crew. There’s too much going on for me to leave.

PAM: There always is lately.

BOBBY: Now wait a minute. You know what Ewing 23 means to us.

PAM: Means to you, not to us.

BOBBY: Honey, I have to be here to make sure that nothing else goes wrong.

PAM: Look, Bobby, I understand. I don’t want to burden you with my problems, okay?

BOBBY: Will you be home by Wednesday?

PAM: Probably. Why?

BOBBY: It’s this fundraising thing for Dave Culver. Daddy would like us to be there.

PAM: Oh, well. I’ll be home then. I wouldn’t want to disappoint your family.

‘All I Want From Her Now Are Her Shares’

Ready?

In “Guilt By Association,” Christopher (Jesse Metcalfe) enters his hotel room as Elena (Jordana Brewster) is ending a phone call to Drew.

CHRISTOPHER: Hey.

ELENA: [Begins unpacking] Hey.

CHRISTOPHER: Who were you talking to?

ELENA: Oh, it was my mom. She wanted to make sure we landed safely. How’d it go?

CHRISTOPHER: My mother’s bank account is registered to her home address, a man by the name of David Gordon. Apparently, he’s an American. Used to be a plastic surgeon.

ELENA: Do you think Pamela lives there?

CHRISTOPHER: There’s only one way to find out. I’m headed over now. [Puts on his coat]

ELENA: Christopher, are you sure you’re prepared for this? Because if there’s anything —

CHRISTOPHER: I’m fine. [Turns away, looks out the window]

ELENA: You haven’t seen your mother in over 25 years. You must be feeling something.

CHRISTOPHER: [Turns toward her] Actually, I’m not. Because the woman I’m about to see ceased to be my mother the day she abandoned me.

ELENA: You keep saying that.

CHRISTOPHER: Because it’s the truth.

ELENA: But after all this time, don’t you want an explanation?

CHRISTOPHER: All I want from her now are her shares so I can take down Cliff. [Grabs his bag] Wish me luck.

ELENA: Good luck. [Kisses him goodbye]

How do you feel about Pam’s search for Rebecca and Christopher’s search for Pam? Share your comments below and read more “Dallas Parallels.”

They’re here

“Dallas’s” second season arrives on DVD today, and not a moment too soon. Fans now have less than two weeks to catch up with the Ewings before TNT begins televising Season 3 on Monday, February 24. It’s a good thing many of us have a long weekend coming up. We’re going to need it.

The four-disc set, which sells for $39.98, includes all 15 second-season episodes, along with lots of extras. The highlights:

• An extended version of “J.R.’s Masterpiece.” The instant-classic funeral episode offers about six minutes of extra footage, including Ann’s eulogy, which is based on a conversation Brenda Strong had with Larry Hagman before he died.

The latter nugget is one of the tidbits you’ll hear from executive producers Cynthia Cidre and Michael M. Robin on the audio commentary. Other revelations: Cidre and Patrick Duffy initially believed Bobby shouldn’t speak at the funeral, and the scene where the Ewings arrive in Nuevo Laredo to retrieve J.R.’s body was filmed at the Fort Worth stockyards.

• More than 15 deleted scenes. In one sequence, Bobby comes onto the Southfork patio and finds J.R. listening to his ex-wife being interviewed on the radio. Says J.R.: “You just missed it, Bob. Sue Ellen called me a philanderer — on the radio. I’m not saying I don’t deserve it. I’m just surprised she didn’t used a dirtier word.” You’ll also see Ann and Bobby discuss Christopher’s search for Pam. “I think that sometimes the past is best left alone. … I’d just hate for Pam to cause you or Christopher any more pain,” Ann says.

• Cast interviews. The cast’s panel discussion at last year’s Paley Fest television festival is included, along with a feature where the actors recall working with Hagman. (Robin’s tribute is especially moving.) Also included: an interview that Hagman recorded around the time the new “Dallas” debuted in 2012. In a particularly poignant moment, he praises his new co-stars and says, “We’ve got four wonderful young actors that are going to drag me through another 13 years. At least I hope to hell they will.”

As if the DVD isn’t enough, TNT also announced plans yesterday to televise every episode from “Dallas’s” first two years before Season 3 begins. The 25-hour marathon starts Sunday, February 23, at 8 p.m.

You dirty boy

Presenting Mr. Henderson

TNT set hearts aflutter last week when it shared sexy shots of Elena (Jordana Brewster), Pamela (Julie Gonzalo), John Ross (Josh Henderson) and Christopher (Jesse Metcalfe) on Facebook and Twitter and asked “Dallas” fans which character should be the “face” of the show’s third-season advertising campaign.

The winner: John Ross, whose image received 31,000 “likes” on Facebook and 360 “favorites” on Twitter. Something tells me his daddy would be awfully proud.

I’ve posted all four images on Dallas Decoder’s Facebook and Pinterest pages. Which one do you like best?

Look Who’s Talking

The “Dallas” cast will soon be making the talk-show rounds to promote the third-season premiere. Last week, the folks who operate Linda Gray’s Facebook page announced she’ll appear soon on NBC’s “Today,” CNN’s “Piers Morgan Tonight,” Bravo’s “Watch What Happens Live” and Katie Couric’s syndicated show.

Of course, if you can’t wait to hear the scoop on “Dallas,” check out the highlights from Gray’s recent conversation with Dallas Decoder and other bloggers.

“Drill Bits,” a roundup of news and trivia about TNT’s “Dallas,” is published periodically.

Welcome back, darlins

Who misses J.R.? We all do, but the third season of TNT’s “Dallas” still manages to be fun, freewheeling television — even if our beloved Larry Hagman is no longer there to breathe life into his most famous character. Watching next week’s season premiere is a little like attending a family reunion after the loss of a favorite uncle. You can’t help but wish the old guy was still around, but isn’t it nice to see everyone else again?

Besides, it’s not like J.R. is gone altogether. His memory looms large in Season 3’s first two episodes. Some examples: John Ross inherits his daddy’s Southfork-sized belt buckle and hires contractors to renovate the house using blueprints J.R. commissioned before his death. Bobby, once again at odds with his ambitious nephew, growls that John Ross isn’t “half the man” J.R. was. Bum, the Ewings’ go-to private eye who now doubles as John Ross’s conscience, urges him to “grow into your father’s greatness, not his weakness.” There’s even a much-improved painting of J.R. hanging in the Ewing offices, allowing Hagman’s visage to peer over the shoulders of the other actors as they move around the set.

With so many verbal and visual references to J.R., isn’t the show just reminding us that this franchise has lost its marquee player? Yes, but since most of us can’t tune into “Dallas” without thinking about Hagman anyway, the producers might as well acknowledge the ghost in the room. Besides, when your franchise is built on a character as endlessly fascinating as J.R. Ewing, why not use him to pull everyone’s strings from the great beyond?

That’s why “The Return,” the third-season premiere, resets the “Dallas” chessboard, J.R.-style. The episode — penned by Cynthia Cidre and Robert Rovner and directed by Steve Robin — picks up 12 hours after last year’s finale, when we learned J.R. was dying of cancer and masterminded his own “murder” so archenemy Cliff Barnes could be framed for the crime, thus ending the Barnes/Ewing feud. (Ha!) The finale also positioned John Ross as J.R.’s heir in every way, and so at the beginning of “The Return,” we learn why the young newlywed went to that hotel room to cheat with Emma, who appears to have traded her pill habit for an addiction to risky encounters with John Ross.

We’ll also hear how John Ross justifies the fling to Kevin Page’s Bum; his excuse will sound familiar to longtime “Dallas” fans who remember how J.R. used to rationalize his cheating on Sue Ellen. This storyline has upset a lot of fans of the John Ross/Pamela pairing, but it allows Josh Henderson to display the sly charisma that makes him almost as much fun to watch as Hagman was in his heyday. And even though John Ross is a cheat, we can’t help but feel charmed by his relationship with Julie Gonzalo’s Pamela, whose smoldering gaze makes her the ideal match for the oh-so-suave Henderson. Let’s acknowledge something else too: As much as we despise Emma, there’s no denying that Emma Bell is terrific in this role. Not since Mary Crosby’s Kristin have “Dallas” viewers had a vixen who’s so much fun to hate.

During last year’s execution of the Ewings’ “master plan” against Cliff, almost all of the characters got in touch with their inner J.R., but Season 3 finds the good guys returning to familiar terrain. Patrick Duffy’s Bobby slides back into his role as the heroic guardian of Southfork traditions, while Jesse Metcalfe’s Christopher gets a refreshingly angst-free romance with Heather, a new ranch hand. This role is played with equal parts spunk and sex appeal by AnnaLynne McCord, who was the best part of the CW’s “90210” and makes a welcome addition to “Dallas,” a far better revival.

(Oh, and even though “The Return” begins 12 hours after Season 2 ended, Christopher now sports a face full of scruff. How did he grow a thick beard in a half-day? It’s probably better not to ask. Let’s consider it this era’s version of Sue Ellen’s hair, which magically shortened itself between seasons in the early 1980s, even though mere minutes had passed on screen.)

“The Return” also recasts Elena, once this show’s romantic heroine, into a shrewd schemer out for revenge — or as she calls it, “justice” — after Cliff revealed J.R. once stole oil-rich land from her father, just like Jock supposedly cheated Digger out of half the Ewing fortune. This might seem like a thin premise to extend the Barnes/Ewing feud, but it gives the underappreciated Jordana Brewster something to do besides moon over Henderson and Metcalfe’s characters. Cliff and Elena’s unlikely alliance also includes Nicolas Treviño, a dashing young billionaire played by Juan Pablo Di Pace, another strong addition to this ensemble.

Now, I know what you’re thinking: What about Sue Ellen? It’s no secret Linda Gray’s character is once again headed for rock bottom this season, although she goes nowhere near a drop of booze in “The Return.” Some fans hate to see Sue Ellen drinking again; I’m not wild about the idea either, but I have no doubt Gray will deliver another knockout performance, just like she did last year. She’s Hagman’s truest heir in a lot of ways, including this one: Like him, Gray can say more with an arched eyebrow or a wry smile than most actors can with a script full of dialogue. She exudes Old Hollywood star power, and whether Sue Ellen is drunk or sober, Gray always delivers riveting television.

“Dallas” fans also want to know about a couple of other favorites, including Brenda Strong’s Ann and her dastardly ex-husband Harris, played to menacing perfection by Mitch Pileggi. Regarding them, I’ll only say this: Just because you haven’t read much about their characters in “Dallas’s” pre-premiere publicity doesn’t mean they have nothing to do in the first two episodes. I also don’t want to give anything away about Judith Light’s character Judith Ryland, except to say her return in the season’s second hour, “Trust Me,” is a hoot.

That episode, written by Bruce Rasmussen and directed by Millicent Shelton, features a Ewing family gathering that showcases the brilliance of costume designer Rachel Sage Kunin, who never fails to impress, and hairdresser Charles Yusko, whose contributions to the success of this series shouldn’t be overlooked. You’ll also want to watch “Trust Me” to see the long-awaited reunion between two characters who had a charming scene last year, along with one of the most audacious moments I’ve ever seen on “Dallas” — or any other show, for that matter.

Most importantly, the episode ends with a shock that rocks two characters and will make you reconsider everything you think you know about a third. It’s a twist you’ll never see coming — and another reason this show remains so much fun, even without the man who got the party started.

“Dallas’s” third season begins Monday, February 24, at 9 p.m. Eastern on TNT. Are you excited? Share your thoughts in the comments section below.

That smile

Now that “Dallas” fans know who killed J.R., we can turn our attention to a much trickier question: Who’ll be J.R.? We all realize Larry Hagman is irreplaceable, but we also understand TNT’s sequel series needs a character who can keep the plots — and on this show, that means the plottin’ and the schemin’ — moving forward the way J.R. did. Last year, the producers seemed to toy with several possible successors — even white-knight father/son duo Bobby and Christopher got in touch with their inner J.R.s — but in “The Return,” John Ross emerges as Daddy’s true heir. It’s the obvious choice. It’s also the smart one.

I’ve been a fan of Josh Henderson’s sly performance from the beginning, even comparing him to “Dallas’s” most famous alum, Brad Pitt, in my first review of the TNT series. Most of what I wrote then remains true: Henderson still has an effortless, seductive charm, and even when John Ross is up to no good, you still find him alluring. But it’s no longer accurate to call Henderson or his character “boyish,” as I did two years ago. Maybe it’s the fact that John Ross is now married and a big-shot oilman in his own right — or maybe it’s the fact that Henderson’s pecs have seemingly grown three cup sizes, as Entertainment Weekly cheekily pointed out last week — but John Ross is now much more man than boy.

Wisely, “The Return” wastes no time establishing him as “Dallas’s” new J.R., who turns out be a lot like the old one. John Ross frolics with his mistress in a hotel room, comes home and lies to his wife about his whereabouts (he says he was in Houston, buying her a “proper” engagement ring), sweet talks his mama when she frets about his ambition, clashes with Bobby over Southfork’s future (To remodel or not to remodel? To drill or not to drill?) and wheels and deals in the boardroom, where he enthusiastically declares Ewing Global is going to be “bigger than Exxon and BP combined.” (Shades of J.R.’s oft-repeated vow to make Ewing Oil the “biggest independent oil company in the state of Texas.”) John Ross even sports J.R.’s wristwatch and belt buckle, and even though the latter looks kind of big on him, is that so bad? I see it as a symbol of how carrying J.R.’s legacy will always be a burden for John Ross, no matter how muscular he gets.

What impresses me most about Henderson — in this episode and others — is how he evokes Hagman’s spirit without ever resorting to imitating the actor. Like Hagman, Henderson possesses one of the great smiles in television, but he uses it differently than the way Hagman used his. Whereas J.R.’s smile often concealed his intentions, John Ross’s lets us know what’s going on inside his head. In “The Return,” Henderson arches his eyebrow and smirks when he’s sparring with Patrick Duffy, but when John Ross is on bended knee proposing to Pamela, watch how the actor’s whole face lights up. This is a smile to melt your heart, reminding us that there’s a sensitive soul beneath all that bravado.

Of course, even though Henderson has become the new face of this franchise, “Dallas” remains a group effort, as “The Return” makes clear. This episode gives almost every member of the ensemble a nice moment or two, although special mention goes to Jordana Brewster, who is such a good actress, she makes Elena’s overnight transformation — literally — into a Ewing enemy seem believable, if not altogether reasonable. (Is Elena unaware of Cliff’s role in blackmailing Drew into blowing up the rig last season?) Brewster’s character has become the latest in a long line of “Dallas” heroines to do Cliff’s dirty work, and I love how the actress holds her own against Ken Kercheval, who is as electric as ever in Cliff’s jailhouse scenes.

I also applaud the introduction of Juan Pablo Di Pace, who makes one of the all-time great “Dallas” debuts when the oh-so-suave Nicolas Treviño sweeps into the Ewing Global boardroom and upsets the family’s apple cart. Treviño has the potential to become an altogether different kind of “Dallas” villain: richer than Jeremy Wendell and Carter McKay and every bit as calculating, but also a heck of a lot hotter. (No offense, William Smithers and George Kennedy.) I’ll never understand how the Ewings lack the “supermajority” they need to sell a division in their own company — just like the whole matter about the Southfork surface rights seems like a bunch of hooey — but let’s face it: “Dallas” has always existed in a universe where the legal realities bear little resemblance to our own.

Besides, I’d rather focus on the other ways in which “The Return” lives up to its title. This episode marks a return to many of the “Dallas” hallmarks that so many of us love, beginning with the revival of the classic three-way split-screen title sequence, which has received widespread acclaim from fans. Under Steve Robin’s direction, “The Return’s” pacing also feels a little more deliberate; there are more old-school, quiet scenes like the one where the women of Southfork sit around the patio and plan Pamela’s wedding; and there are more sequences set outdoors on the ranch, which cinematographer Rodney Charters always showcases in all of its high-definition, green-grass/blue-sky glory. No matter where the characters go on Southfork — whether it’s to the wood-chopping pile or to the “shale formation” where the cattle graze — Charters makes us feel like we’re right there with them.

I also appreciate how this episode’s script, written by co-executive producers Cynthia Cidre and Robert Rovner, is sprinkled with dialogue that pays homage to classic “Dallas” themes. One example: The tension between moving forward and clinging to old traditions has always been central to the “Dallas” mythology, which we see in Bobby and John Ross’s argument over remodeling Southfork. “It’s about time you learn to respect the past, boy,” Bobby says. John Ross’s cutting response: “The past is what holds us back, Uncle Bobby.” If I heard that line a season or two ago, I might worry it signaled this franchise was going to abandon its history, except the people in charge have long since demonstrated their commitment to preserving “Dallas’s” heritage, even if they sometimes play a little loose with the continuity.

Nothing demonstrates this better than all the references to J.R. in “The Return.” I counted at least 13 instances where he’s mentioned by name, and that doesn’t include lines like the one where Sue Ellen catches John Ross sneaking out of Emma’s bedroom and says, “What’s the matter, Mama? You look like you just seen a ghost.” There are also plenty of visual reminders: the wristwatch, the belt buckle, the gravestone and most importantly, the much-improved portrait hanging in the background at Ewing Global, which makes it seem like J.R. is always peering over someone’s shoulder.

Indeed, as tempting as it is to think of “Dallas’s” third season as the beginning of the post-Hagman era, is such a thing even possible? “The Return” keeps our hero’s memory alive, not that it was in any danger of fading in the first place.

Grade: B

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Look who’s lurking

‘THE RETURN’

Season 3, Episode 1

Telecast: February 24, 2014

Audience: 2.7 million viewers on February 24

Writers: Cynthia Cidre and Robert Rovner

Director: Steve Robin

Synopsis: Elena forms a secret alliance with Cliff, takes a job at the newly renamed Ewing Global and recruits Nicolas Treviño, a childhood friend who is now a billionaire, to serve as Cliff’s proxy. Emma, Ryland Transport’s new chief executive, gives John Ross control of the company’s drilling and cargo ships so Ewing Global can tap oil and methane reserves in the Arctic. When Nicolas tries to scuttle the Arctic deal, John Ross suggests drilling on Southfork to finance the project, but Bobby disagrees. The Mendez-Ocha cartel bribes a judge to get Harris out of jail and threatens to kill Emma if Harris doesn’t resume his drug shipments. Christopher meets Heather, a spirited ranch hand.

Cast: Amber Bartlett (Jill), Emma Bell (Emma Ryland), Donny Boaz (Bo McCabe), Jordana Brewster (Elena Ramos), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Ken Kercheval (Cliff Barnes), AnnaLynne McCord (Heather), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing)

“The Return” is available at DallasTNT.com and iTunes. Watch the episode and share your comments below.

What’s she thinking?

Southfork catches fire again in “Where There’s Smoke,” although much of the heat in this episode comes from Pamela’s ménage a trois with John Ross and Emma. It’s shocking to see her make out with her husband and his mistress, although Pamela’s sudden seizure at the end of the scene proves an even bigger surprise. When I watched this cliffhanger for the first time the other night, I was left with a slew of questions: Is this an accident, or does the pill bottle in Pamela’s pocket mean she intentionally overdosed? Is she trying to kill herself, or does she merely want to scare John Ross and Emma? Could she be faking it?

It turns out we don’t have to wait until August, when “Dallas’s” third season will resume, for the answers to most of these questions: Yesterday, showrunner Cynthia Cidre told TV Line that Pamela was out to “punish” John Ross and Emma. “She wanted them to never be able to have sex again without thinking of her vomiting on them,” Cidre said. Well, OK then.

This still leaves open the question of whether or not Pamela is like Sue Ellen, which is probably the most interesting point to debate anyway. Earlier in the episode, Pamela puts down her mother-in-law, telling her she isn’t “weak” and “sniveling” like her. (Linda Gray’s reaction shots in this scene are heartbreaking.) By taking revenge against John Ross and Emma instead of hitting the bottle like Sue Ellen, Pamela seems to prove her point. On the other hand, if vengeance involves swallowing pills, is Pamela really all that different from Sue Ellen? Perhaps this storyline is meant to fit with one of this season’s broader themes, which is how “Dallas’s” younger generation is doomed to repeat the old guard’s mistakes.

But no matter how this cliffhanger is resolved, there’s no doubt the big sex scene has raised a ruckus among “Dallas” fans. Some say the series went too far by showing a three-way; others love the unexpected twist. I’m in the latter camp. Without question, the show is going out of its way to be provocative, but let’s face it: Sex has always been part of “Dallas’s” DNA. Isn’t this is the show that began with a teenage girl rolling around in the hay with a silver-haired cowboy? Besides, I don’t find John Ross, Pamela and Emma kissing and fondling each other as distasteful as seeing J.R. force Holly Harwood to have sex with him against her will, which is what happened in a 1983 episode. Now that was disturbing.

To me, the threesome feels like a fitting climax to a storyline that’s been building since the end of the previous season, when John Ross and Emma first cavorted in an Omni hotel room. I especially like how Cidre and Robert Rovner, who co-wrote this episode, bring everything full circle by bringing back Pamela and Emma’s green corsets. You also have to hand it to the actors: Josh Henderson does a nice job conveying John Ross’s hesitation about joining Pamela and Emma in bed — you can feel the character’s bewilderment — while Emma Bell always makes her character seem like she’s up for anything. Of course, the standout is Julie Gonzalo. Pamela hasn’t had much to do lately except gaze adoringly at John Ross, but “Where There’s Smoke” makes up for it. During the course of a single day, Pamela goes from feeling stunned to hurt to angry to aroused, and Gonzalo nails every scene. She’s become one of “Dallas’s” most reliable performers.

Surprisingly, I find the Pamela/John Ross/Emma cliffhanger more compelling than the Southfork fire, which lacks suspense. Is there any doubt Sue Ellen, Bobby and Christopher will all survive? A bigger problem: This fire seems like it comes from out of nowhere, unlike the 1983 version, when the inferno felt like the perfect way to end a season in which everything went to hell for the Ewings. Nevertheless, the “Where There’s Smoke” fire is a technical marvel. The special effects are superb, and whether or not it’s intentional, director Michael M. Robin and cinematographer Rodney Charters mimic some of the shots from the original fire. (You can see a side-by-side comparison on my Facebook page.)

More “Where There’s Smoke” highlights: Patrick Duffy is terrific in the scene where Bobby blows up at Ann, although as one Dallas Decoder reader pointed out on Twitter, Bobby is being a bit of a hypocrite. Yes, Ann probably should’ve told her husband about John Ross and Emma’s affair, but has Bobby gotten around to telling his wife that he framed Cliff for J.R.’s “murder?” Meanwhile, Ann and Harris’s kiss is surprisingly moving. This scene works not just because Brenda Strong and Mitch Pileggi are so good in their roles, but also because the show has taken its time telling their story, slowly revealing Ann’s vulnerability and Harris’s humanity.

I also like seeing Christopher and Heather grow closer — the ever-expanding McCabe clan is quickly surpassing the Ramoses as the show’s most believably down-to-earth family — and I’m glad this episode keeps the Mexican cartel and brothel business to a merciful minimum. It’s also good to see Elena acknowledge that J.R. — not Christopher — hurt her father; isn’t this what fans have been screaming at their TVs all season? The next scene, where Nicolas pokes holes in Elena’s diaphragm, is puzzling: By impregnating her, does he hope to control her? On the other hand, if this is the reason the Doors’ “Break On Through (To the Other Side)” was chosen for the episode-ending montage, I’m all for it.

Finally, like a lot of fans, I’m not sure what to make of the fact “North By Northwest” is playing on Sue Ellen’s TV when she gets drunk before the fire starts. In the movie, Cary Grant plays a man who unwittingly falls into a spy game but ultimately turns the tables on his enemies and takes control of the situation. Could this be a signal that Gray’s character is about to get back on track? Or is the film’s appearance nothing more than a sly plug for Turner Classic Movies, one of TNT’s sister channels?

I hope it’s the former. I’ve been patient while “Dallas” allows Sue Ellen’s relapse to play out, but now that she’s back where her fall from the wagon began — in the bedroom where J.R. once slept — it feels like this storyline has come full circle too. Is this where our beloved heroine begins the road back to sobriety? That’s the real cliffhanger, isn’t it?

Grade: B

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Full circle?

‘WHERE THERE’S SMOKE’

Season 3, Episode 8

Telecast: April 14, 2014

Audience: 2.1 million viewers on April 14

Writers: Cynthia Cidre and Robert Rovner

Director: Michael M. Robin

Synopsis: Pamela sees the video of John Ross and Emma and lashes out at Sue Ellen and Ann when she realizes they knew about the affair. Bobby becomes angry at Ann for keeping the secret from him, which prompts her to turn to Harris, who kisses her. John Ross figures out Harris has been trying to frame him and tells Judith to call off her son, while Judith urges Emma to turn on John Ross. Drew tells Nicolas he wants to settle the feud with the Ewings “with blood,” while Nicolas sabotages Elena’s birth control when she begins getting cold feet about their revenge scheme. Pamela finds John Ross and Emma in a hotel room and has a threesome with them, only to begin convulsing after an apparent overdose. Bobby and Christopher learn Bo blames the Ewings for his troubles and come home to Southfork to find the house in flames with Sue Ellen passed out inside.

Cast: Kuno Becker (Drew Ramos), Emma Bell (Emma Ryland), Donny Boaz (Bo McCabe), Jordana Brewster (Elena Ramos), Dallas Clark (Michael McCabe), Jude Demorest (Candace), Juan Pablo Di Pace (Nicolas Treviño), Akai Draco (Sheriff Derrick), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Judith Light (Judith Ryland), AnnaLynne McCord (Heather McCabe), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing), Steven Walters (Reece)

“Where There’s Smoke” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.

Julie Gonzalo (Courtesy Regard Magazine)

It’s no secret your Dallas Decoder is a big fan of Julie Gonzalo — a.k.a. Pamela Rebecca Barnes Ewing Ewing on TNT’s “Dallas” — so I was hugely excited to speak to her recently. Gonzalo was gracious, insightful, down-to-earth and generally awesome. She discussed Pamela’s many ups and downs — and offered a hint of what we’ll see when “Dallas” resumes its third season on Monday, August 18.

Pamela has probably evolved more than any other “Dallas” character during the past two-and-a-half seasons. Do you agree?

Yeah, I think so. It’s definitely one of those roles where every season, we see a different side of her. It’s very exciting as an actor to be able to rediscover her every year and to find something new to play around with.

That’s what’s so impressive about you: You do it all so well! You can be really sweet, but you can also be a bitch on wheels.

Well, thank you! [Laughs]

I mean that as a compliment, I hope you know.

I’m taking it as a huge compliment! [Laughs] That’s the idea, especially on a show like this, where you need to sell vengeance and you need to sell sweetness, sometimes in the same scene.

Good girl gone bad

So which side do you like to play best?

Oh, the naughty side. There’s something so fun about doing things you don’t do in your normal life. And on “Dallas,” the villains are usually the most memorable characters — everybody wants to see what they’ll be doing next. When we were working on Season 2 [when Pamela was out for revenge], I was having a blast. I really loved being conniving and backstabbing.

What’s really striking to me is just how popular Pamela is. I hear it all the time from my fellow fans. They love her.

To hear that makes me so, so happy.

Oh, my goodness. I hope you’re aware of how devoted people are to Pamela. It doesn’t matter what she does, the fans root for her.

That’s amazing, because sometimes I feel like, “Which Pamela are they talking about?” The fans love the original Pamela [Victoria Principal’s character], so sometimes I’m not sure if they’re talking about my character or hers.

Well, she has a loyal and passionate following, but you do too.

That’s just incredible. I have so much fun playing Pamela and I hope that translates [on screen]. I think there are so many beautiful, fully formed characters on the show, so I’m very flattered to hear fans like her.

I think a real turning point in the character’s evolution came last season, when Pamela lost her babies.

Yeah, absolutely. I think everything changed for her in that moment. That probably was one of my most challenging episodes. The grieving period was so difficult. I’m not a parent — and I never want to know what it feels like to lose a child — so it’s hard to go into an emotion like that. And it was really tough to maintain yourself in a really sad moment. You go home and you’re asking yourself, “Why am I so sad?” You never want to bring your work home, but there are points where it overtakes your life a little bit, and that was one of those times.

It was a courageous performance for a lot reasons, and one of them is that Pamela didn’t look her best in that episode — and you’re very beautiful.

Well, thank you. But no, I loved that. I sometimes have problems when we’re doing a morning scene and everyone’s hair and makeup are perfect. I think, “No, this isn’t how it happens in real life!” [Laughs] Even if you have all the money in the world, you don’t wake up looking amazing. You just don’t. But in that episode, I wanted her to look bad because it was a bad moment.

Pushing the envelope

Let’s shift gears and talk about another one of Pamela’s memorable moments: the threesome scene from the midseason cliffhanger. What can you tell me about that?

Well, what do you want to know? [Laughs]

I want to know it all!

I’m sure you do! The funny part is how I found out about it. Cynthia [Cidre, the co-executive producer] said it so nonchalantly: “Yeah, you’re going to come into the room, and you’re going to catch [John Ross and Emma] together, and then you’re going to join them.” She said it like it was no big deal. So I thought, “Oh, OK. It’s no big deal.” But I also thought, “Why not? Let’s push the envelope a little.” I mean, “Dallas” is known for that.

Absolutely.

I didn’t realize people were going to see it and say, “What the. … ” [Laughs] But I still don’t see it as a big deal. There are things out there that are much more explicit.

Still, it’s got to be weird to have the crew around while you’re making out with two other people.

Totally, but it’s also a very respectful atmosphere and a very respectful crew. And we’re all so comfortable with each other. By that point, Josh [Henderson] and I had become really good friends and Emma [Bell] and I had been hanging out a lot, so it was one of those things that was like, “OK, it’s another day at work.” [Laughs]

So what do you think was going through Pamela’s mind when she walked into that hotel room and saw John Ross and Emma?

At that moment, she had already downed a bottle of pills. [Joining them] wasn’t the approach that people expected from her, being the strong woman that she is. But I also like the fact that nobody could predict that. I like the idea that even strong characters have weak moments, especially when they’re being hurt. She really believed John Ross was made for her. They’re very similar creatures. So once she realized he wasn’t the man she thought he was, she went a little crazy. Anybody would, I think.

And tell me about the famous green corsets you and Emma wore this season. How did you feel about having to spend so much time in that thing?

It’s one of those things that you can’t really take deep breaths in. [Laughs] As any actress will tell you, when you’ve got to wear a costume like that, you’re thinking, “Oh, God. I can’t eat this or I can’t eat that. I have to drink a lot of water and I have to go to the gym.” Because you’re not just putting it on for the people in front of you — you’re putting it on for a TV show that will be watched over and over again for years to come. But to me, it was a beautiful costume. I thought both characters looked great.

Dressed to thrill

I agree, although my favorite outfit of the season was Pamela’s black-and-white dress.

Wasn’t it beautiful? The moment I put it on with Rachel [Sage Kunin, the costume designer], I said, “Yep, this is it.” And the tag said it was a Stella McCartney and I said, “Of course, it’s a Stella McCartney.” I’m a huge fan of hers. Huge fan of her dad too.

Is it fun to have an episode like that, where you get to kick it up a notch?

Yeah, you look forward to those episodes. Rachel’s so great at picking out beautiful clothing. I always say, “Ooh, I want to wear this!” And Rachel will say, “No, it’s not appropriate for this scene,” and I’m like, “Dammit!” So when your character gets to go to Vegas and do the hair and wardrobe differently, that’s always very exciting.

I think that outfit is going to be remembered as one of the iconic “Dallas” looks.

Really?

Oh, absolutely. It was kind of a tribute to Sue Ellen, who had so many memorable black-and-white costumes.

Yeah, and I think we played up a lot of similarities between Pamela and Sue Ellen — and I love that. During the second half of the season, there are a lot of moments between our characters. I really enjoy working with [Linda Gray]. I’m always telling her, “You know, it would be my honor to be half the woman you are.”

She’s so cool, and I’m thrilled to hear you two are going to have more scenes together. Pamela was pretty mean to her in the midseason cliffhanger.

Well, she had her reasons. [Laughs]

Buddies

Overall, it seems like the cast is a pretty tight-knit group.

Totally. Josh has become one of my closest buddies at work. He’s the one I work with most, and we really have a great time working together. And I was just on the phone with Jordana [Brewster] the other day. We’re trying to see each other [during the hiatus]. I really appreciate these people, and I really like these people. I mean, if the show were to end tomorrow, I know I’ll still have a friendship with most of them.

That’s not unlike what happened on the original show.

Right. You look at Linda and Larry and Patrick [Duffy]. You see the love they have for one another and how beautiful their friendship is, and it’s all because of the show. I hope that can be us one day.

You touched on this a few moments ago, but how do you prepare for your scenes? How do you “become” Pamela? Linda told me she doesn’t feel like her character unless she has Sue Ellen’s heels on.

It definitely helps me to be in costume. I don’t think I look anything like Pamela unless I’m in her wardrobe. Energy-wise, I don’t feel like her. When I’m working with my coach, I’m Pamela, but I don’t fully become her until my hair is done and my makeup is done. I look in the mirror and I say, “Oh, there she is.”

Working with a coach — that’s a part of the process I think a lot of fans aren’t aware of or tend to overlook.

A lot of us have coaches. I always work with a coach because I never want to feel like I know everything. As an actor, I never want to stop learning. The more I work, the more I want to learn. If I ever start to think, “No, it’s cool, I got this, I can wing it,” then I don’t want to be an actor anymore. I just did an acting workshop last weekend that focused on voice and movement and all these different things. You just never want to stop learning.

I have such admiration for people like you, who can get up and perform in front of an audience or a camera.

I was just in New York and I was lucky enough to see “All the Way” with Bryan Cranston and my mouth was on the floor. He’s phenomenal. And I bet he doesn’t feel like he knows everything, although to me he’s perfect. It’s like, “You’re cooked. You’re done. You’re good.” [Laughs] But again, you just want to keep advancing yourself and surrounding yourself with people you know you can learn from.

Well, speaking of great actors, tell me about working with Mr. Hagman.

Ah, what a class act. He was divine. He really was such a beautiful energy to be around, as he would say. He said we’re all energies. I did one scene with him, and it’s funny because I don’t really keep any of my scripts, but I did save those pages. It’s the scene where Pamela is talking to Frank in her office, and J.R. walks in. And Larry was wonderful, absolutely wonderful. He was such a flirt too. [Imitating him] “You should keep those pants. Those pants belong to you.” And I’m like, “Well, thank you. I can only wonder what you’re checking out.” I was very lucky to have that scene with him.

It’s one of my favorite scenes from the new series.

Really?

Oh, absolutely. It’s another scene that honors the past. It evokes all the great confrontations he had with Victoria Principal. And it’s great because you really held your own against him.

I tried, I tried! You know, when we were rehearsing the scene, I just wanted to do it with a smile. I thought, she’s so giddy because J.R. Ewing is in her office. He’s here to talk to her. I remember the director saying, “I didn’t see it with a smile, but it works.”

And how do you enjoy working with your TV parents, Ken Kercheval and Audrey Landers?

Oh, Daddy and Mommy. He’s such a trip. He’s great, and she’s so sweet. Pamela and Afton don’t really get along, so it’s hard to roll your eyes at your mother. I tell her, “Oh, you’re so nice.” It was really lovely to have her at the wedding.

Always a bride

The wedding! That was a fun episode too.

It was! I’m just so bummed they had to cut a lot of it out.

My mom was furious we never got to see the vows.

The vows were really cute. They were really meaningful. There was so much subtext. And then there was a scene of them dancing, and John Ross is singing to her.

Aww.

I know. I really hope they put it on DVD because it’s really beautiful. And Josh sings really well. I was laying my head on his shoulder and he’s singing a Blake Shelton song. There’s a cute little interaction between them, and then you kind of start to see a little doubt in her. It was a tiny little hint in there. When they cut it, I was like, “Dammit, no!” [Laughs]

So what can you tell us about the second half of Season 3?

The second half, in my opinion, is even better than the first, at least for my character. There’s a lot more Pamela that we’ll get to discover. There’s so much that, I think, is going to take people by surprise. There’s definitely a stronger Pamela coming.

That makes us fans happy. We love the strong Pamela best.

Me too. She’s so much fun. I love when she has the upper hand. She walks into a room and owns it. It’s funny because playing someone so confident — so comfortable with who they are — has made me more confident. So I definitely owe that to her.

Share your comments below and read more Dallas Decoder interviews.

Melinda Clarke (Getty Images)

“Dallas” has cast Melinda Clarke as Tracey McKay, one of Bobby Ewing’s girlfriends from the original series. Clarke will appear on the TNT drama during the second half of the third season, which resumes Monday, August 18.

Tracey was introduced during the original “Dallas’s” 12th season and was played by Beth Toussaint. The character is the daughter of Ewing rival Carter McKay, played by George Kennedy, and was briefly romanced by Bobby (Patrick Duffy), but the affair ended when he tangled with Tracey’s drug-dealing brother Tommy, played by J. Eddie Peck. Tracey briefly returned to the series the following season when Tommy was killed off.

This season, TNT’s “Dallas” introduced Carter’s grandson Hunter (Fran Kranz), a childhood friend of John Ross and Christopher’s who is secretly helping Nicolas (Juan Pablo Di Pace) with his scheme against the Ewings.

A TNT spokeswoman confirmed the casting of Clarke, who is best known for her roles on “The O.C.” and “Nikita,” along with a recurring gig on “C.S.I.: Crime Scene Investigation” as Lady Heather, a dominatrix. Clarke also appeared alongside Julie Gonzalo in episodes of “Nikita” and “Eli Stone.”

TNT has provided no details on Tracey’s storyline, although showrunner Cynthia Cidre previously hinted one of Bobby’s old flames could return and provide a new obstacle for him and Ann (Brenda Strong). Ultimate Dallas reported the character’s return yesterday.

There’s also no word on why Toussaint isn’t returning as Tracey. Toussaint’s most recent television role was on “The Young and the Restless” in 2006, according to her IMDb profile.

What do you think of Melinda Clarke’s casting as Tracey McKay? Share your comments below and read more of Dallas Decoder’s news coverage.

Margaret Michaels

Margaret Michaels occupies a unique place in “Dallas” history. In 1988, one year after Victoria Principal left the original series, Michaels played Pam Ewing in two scenes designed to give the character closure after her fiery car crash and disappearance from Southfork. The following season, Michaels returned for a few episodes as Jeanne O’Brien, a Pam lookalike. I spoke to her recently about her “Dallas” experiences.

Let’s start at the beginning. How did you get the role of Pam?

I have a very dear friend who was a stuntwoman and happened to be the driver who ran over Bobby in the episode where he supposedly died. She and I were visiting the set of one of Patrick Duffy’s TV movies, and when my friend introduced me to him, he asked if I was an actress. The next thing I knew, I was reading for [“Dallas” producer] Leonard Katzman.

No kidding? So Katherine Wentworth’s stunt double is friends with the other Pam Ewing?

Isn’t that funny? My friend, Linda, is such a kick. I used to go with her when she was doing stunts with [stuntman] Hal Needham. We’d watch them blow up cars in San Pedro. She’s a fun friend, let me tell you. [Laughs]

So when you met Patrick, did he remark on your resemblance to Victoria?

I don’t remember him making that comment, but he must have felt that way, otherwise I would not have met with Leonard.

Let’s talk about that. You spent a year on the daytime soap “Santa Barbara” before “Dallas.” Had anyone commented on your resemblance to Victoria before?

First of all, I think we all look like someone. And several people had said they thought we looked alike. I think if we were standing next to one another, people might not make that distinction. Yet photographically, it certainly works. And please keep in mind: I’ve never met Victoria Principal. I do have a couple of friends who know both of us, and they say we have a strong resemblance. I’ve always taken that as a compliment.

Once a heroine

So you read for Mr. Katzman, and then you got the part. Was it intimidating to step into the role of Pam, even if it was for just one episode?

I think it’s difficult for any actor to fill the role of a beloved character like Pam. She was established by Victoria, who was loved both as Victoria and as Pam. And so as an actor, you want to get it right. And as a fan who watched the show, you really, really want to be believable. So I understood the importance of that scene.

Ah, so you were a fan of the show?

Absolutely! I think everyone I knew was a fan of “Dallas.”

That’s very cool! Your familiarity with the show must have been helpful to you in preparing for the role.

It was, certainly. I already knew that Bobby was the love of Pam’s life. I knew that stepping away from your child in order to save them from more heartbreak had to be probably one of the most difficult decisions she would ever make. And I also knew that her love for and bond with her brother Cliff would make seeing him again almost impossible. That’s a tremendous amount of information for an actor to go into a scene with. So for me, I think having created the raspy voice, in addition to the scars on my neck and face, probably made it easier for me to slide into that role.

Oh, interesting. You changed your voice for the scene?

I did. I tried to mimic that of a burn victim because, of course, Pam’s crash was an absolute explosion of fire. I’ve always found it amazing that anyone could have survived it.

Yes. She’s a miracle woman!

But that kind of intense fire, it doesn’t just disfigure a person’s face, it damages their vocal cords. So I tried to make [my voice] a little raspy, so there wasn’t clarity to each sentence. I’ve had family members who were with the fire department, and my husband had a very good friend who ran a burn center. And when someone has had a tremendous insult to their vocal cords, it alters the sound of their voice.

You also mentioned the makeup you wore. Was that very involved?

Very involved, and that’s why I applaud the makeup department. It takes a long time to build that kind of scar tissue on the neck and face. Actually, that may have taken as long as doing the scene.

So what was it like to actually film the scene? It’s a heartbreaking moment — Pam telling Cliff she never wants to see him again.

The thing that pops into my mind first is walking onto that set and how quiet and respectful it was. That’s not always the case when you walk onto a set, until they start rolling. Michael Preece was directing that episode — and wow, Michael is truly an actor’s director. And Ken Kercheval is really a wonderful actor. He was so real. It was difficult to hold in all those emotions as Pam while watching Cliff plead for his sister to come back home.

And then Cliff walks away, and Pam is left alone with her doctor — and that’s when the audience learns she’s dying and sent Cliff away to protect him from the truth.

The wonderful part of that was it allowed me to take all this pinned up emotion from my scene with Ken and take it into the next scene with the doctor.

It sounds like you really enjoyed working with him.

The whole experience was wonderful — solemn, but wonderful. I have to tell you: On the day we shot this and I walked onto that set, I had to wonder how it was for the crew. For years, they worked with one actress as Pamela Ewing, and then suddenly they’re presented with a scene where both the character and the storyline have closure, and an entirely different person steps into the role. But the crew was lovely.

So what kind of reaction did you receive after that episode aired? Did you hear from fans?

I did. It was odd because I already had a fan base from “Santa Barbara,” and there were people who wrote and were very positive. I was thankful for that. Yet I also think this was really difficult for people who were true fans of Victoria and Pam to accept me in this role, and I think that’s completely understandable.

Repeat performance

Well, the producers must have liked what they saw because they invited you to return the following season as Pam’s double, Jeanne.

I was completely surprised when that happened. It was an out of the blue phone call. They asked, “Would you want to come back and do this character, Jeanne O’Brien?” And I thought, “Of course.” No one even questions that. It was a wonderful set to work on.

How did playing Jeanne compare to playing Pam?

It’s totally different than coming in and taking over a role that someone else created. Now you get to create all the nuances of Jeanne O’Brien. Each time I got a script, there was another layer of her personality. In my mind, I think she was trying so desperately to climb that ladder of success without really knowing who she was. I think she was very ambitious, and I do not think she was prepared for a guy like Bobby Ewing. It’s sort of like having your knight in shining armor arrive, only to realize the knight belongs to someone else, and there’s nothing you can do about it. [Laughs]

Jeanne was quite a bit different from Pam, wasn’t she?

There was that one scene in her house where she attempts to transform herself into Pam and seduces Bobby. When I got that script and read that scene, it was the first time I thought she had a darker, more manipulative, almost desperate side to herself. Because initially, she was all over the place. She was a smart real estate woman, and then all of a sudden she was the cute, sweet little date, and now I’ve got a scene where she tries to look exactly like his ex-wife. You have to wonder: What type of personality makes that choice?

Seeing double

And when you played Jeanne, you finally got to work with Patrick.

I absolutely loved him. He is just a wonderful human being. He’s kind and nurturing, and as an actor, he’s talented and giving. Every single time I worked with him was just pure joy.

He and Larry Hagman were famous for their practical jokes on the set. Were you ever a victim of their pranks?

Was I a victim? [Laughs] Let me tell you, it wasn’t just Larry and Patrick. It was also Ken Kercheval.

Oh, really? I haven’t heard about him before.

I don’t think Ken orchestrated anything, but he wasn’t adverse to being the quiet participant who didn’t give me a heads up. There were actually a few times where I felt like I was in the Abbott and Costello routine, “Who’s on First?” And trust me: When you’re the new kid on the show, you are not on first.

Ken also directed one of the Jeanne O’Brien episodes.

He did. He directed that darker scene where Jeanne seduces Bobby. And Larry of course directed one [of the other episodes], and as directors, both Ken and Larry were exceptional. They knew exactly what they wanted. Because they played key characters on “Dallas,” their insight into the show worked very well for them behind the lens.

Who’s on first?

Do you stay in touch with any of the cast members?

I have friends who have run into Patrick and I think, “Why don’t I ever run into Patrick?” [Laughs] But I have to tell you: My husband and I were once boarding a flight from New York, and Larry and his wife were on the same flight with us. So I had an opportunity to fly from New York to L.A. and chat with him. This was years ago, and I’m always grateful now that he’s gone that I had an opportunity to spend a little bit of time with him.

So on the new “Dallas,” Pam is supposed to be dead, but a lot of fans are hoping she’ll come back — and many of them would be very happy to see you in the role.

First, I’m flattered to hear that. I was a fan of the old “Dallas” and I’m a fan of the new “Dallas.” I just love Josh Henderson and Jesse Metcalfe. They are so wonderful. I love Elena and Pamela. I adore Sue Ellen. I like her so much now because she has come into her own. And of course, like all the fans, I was hoping for that J.R./Sue Ellen reunion. Oh, and I have to tell you this, because I love this so much: I think having Cliff Barnes return as the mega-wealthy villain is pure genius.

Isn’t he great on the new show?

He’s fabulous. And Patrick’s character has layers upon layers. Bobby’s really grown into his own. I love how strong he is, and I love how he has a little bit of bad boy in him now. I think that’s a good thing for him. And you talk about Pam, but I have to tell you: I really like Bobby and Ann. I think she’s wonderful.

Oh, how nice!

So as for Pam returning? This is the only way I know how to put this: In life, we miss our family members that we lose. And art imitates life, and fans miss the characters that they lose — yet it doesn’t always mean we get them back. I think Cynthia Cidre knows exactly what she’s doing.

Nicely stated, but what about Jeanne? Would you ever be interested in playing that role again?

Oh, yeah. Sure. She’s a fun gal.

Never settle

What do you think became of Jeanne? Where do you suppose she is today?

[Laughs] Well, I don’t think Jeanne would have settled for the mundane. Knowing her, I think she probably married an older, wealthy businessman who probably taught her everything she needed to know about the corporate world. And by now, I would think she’s either divorced, maybe widowed. Regardless, I think she’s certainly doing well on her own.

And what about Margaret Michaels? Can you tell us what you’re up to these days?

Oh, sure. I actually changed my focus and started putting my creative energy in writing. I had so many stories and ideas pinned up in my brain for so long, so I decided to put them on paper. So I have a couple of production companies. I have two partners, and we have a feature that’s ready to go. I also wrote a television movie for the holiday season, and I created a series. I’ve already written the pilot, and three episodes are finished. I know all the little twists and turns and where the characters are going. I just wish all the ideas would float out of my head and download themselves onto my USB without my having to type anything. [Laughs]

Are these projects “Dallas” fans can see soon?

I’m talking to people. This is an interesting business. My feeling is this: When you’re shooting it, then you know it’s a done deal. Until then, it’s all conversation and negotiation.

Spoken like a smart businesswoman. Jeanne would be proud!

[Laughs] Well, I just truly love doing this. I enjoy every moment of the process.

Share your comments below and read more Dallas Decoder interviews.

We’re shocked too, honey

“Dallas” will resume its third season on August 18 and continue airing weekly until the two-hour season finale on September 22 — but if you can’t wait until then to find out what happens on the show, head over to EW.com.

In an interview posted today, showrunner Cynthia Cidre drops several tidbits about the remaining third-season storylines. The most intriguing revelation: The summer episodes will take place over the course of about 10 days in the lives of the Ewings.

If you want to know the rest — including Cidre’s plans for a Southfork expansion if “Dallas” is renewed for a fourth season — read the full interview.

What do you think of the revelations from EW.com? Share your thoughts below.

Juan Pablo Di Pace

Spoiler alert! “Dallas” surprised viewers this week when Juan Pablo Di Pace’s character, Nicolas Treviño, stood by and watched his partners in crime execute his lifelong friend, Drew Ramos (Kuno Becker). I spoke to Di Pace last week about Nicolas’s dark turn and what will happen next on the TNT drama.

Dude, you killed Drew!

I know, I know. I’m so happy I did. [Laughs]

How’d you find out your character was going to become a killer?

There was sense among the cast that someone was going to die. Then it became clear it was Drew, and then when I read the script, I thought, “Oh, it’s me! I’m the killer!” [Laughs] But it’s a horrible thing. He’s like Nicolas’s half-brother.

What was it like to film the big scene where Drew takes the bullet?

It was hard. The producers really wanted to show that Nicolas is this badass, cold guy. So I went there and I was really cold. I went in thinking, “OK, I’m not going to feel anything. I’m not going to cry.” And all of a sudden, in the last take, my eyes were bawling. It just felt so wrong. It’s inevitable that Nicolas would feel something because Drew’s family.

How long did that scene take to film?

Steve Robin, the director of that episode, wanted me to do it many times because he really wanted different sizes of the shot. It was a very intense half-day, but I absolutely love Kuno Becker. He’s wonderful to work with. So it was a great day, all in all. But it certainly gives Nicolas a twist. Everyone was wondering, “Is this guy a complete monster?” Yes, he is a monster.

Introducing Mr. Trevino

So when you joined the “Dallas” cast, did you know this was the direction Nicolas was going in?

Well, when I joined the show, it was very, very fast. I had just arrived in L.A. I was just breezily going through my first week [there], and then I get the call: “Put yourself on tape for ‘Dallas.’” I did that, and two days later, I’m talking to Cynthia [Cidre, the show’s executive producer]. And then a day after that, I’m in Dallas shooting. So I had no time to think about the enormity of it all. But what Cynthia did — which was great — was on that flight from L.A. to Dallas, she explained to me the whole two seasons prior, and she explained the arc of the character in Season 3.

What did she tell you about Nicolas?

She mentioned that he’s not what he seems, but I did not predict he was going to be a killer. That was definitely a big surprise for me.

Would you have preferred knowing that from the start?

In this profession, you always have to readjust. I don’t know if you remember the first season of “24,” but Nina Meyers was Jack’s sidekick, and at the end of the season, they told the actress, “Oh, by the way, you’re the mole.” So as an actor, you always want to know, but sometimes the producers don’t tell you so you don’t play what’s coming.

Boardroom debut

I have to tell you: I liked Nicolas so much as the charming rapscallion. I loved his first scene, where he breezes into the boardroom and upsets the Ewings’ apple cart.

That’s what’s fun about playing him. He has these different colors. He’s a guy with a secret, and he’s always hiding stuff. You know, in the beginning, we thought, “Elena is the one person he can tell everything to.” Not anymore. Now he has to hide the death of Drew, and that really affects Nicolas a lot. It’s stirring inside of him the rest of the season.

Well, let’s talk about his relationship with Elena. What’s up with the whole diaphragm-puncturing business?

Elena is the love of his life. I mean, that is one true thing about him. He adores her and doesn’t want to lose her, but he also knows he won’t be able to keep everything from her for very long. And when she finds out, it’s not going to be pretty. So I think the puncturing of the diaphragm is his way of securing a place in her life. Having a child together means having a connection to her that is beyond all the bad stuff that he’s doing for the cartel. It’s a twisted plan, of course. It’s very Nicolas. [Laughs]

So he’s killing people and he’s sabotaging people’s birth control. What else are we going to see him do this year?

I’d tell you but I’d have to kill you. [Laughs]

Oh, no. Nicolas is coming after me now!

I’m just going to say, toward the end of the season, it gets very exciting. The “Dallas” writers have this talent for giving you the cliffhanger, and I can tell you there’s another “Oh my God” moment before the season ends.

Connected forever?

Oh, good. So how are you enjoying working with the cast?

I love it. Jordana [Brewster] was the first person I did a scene with when I arrived, fresh off the boat. She’s just a dream to work with. And the rest of the cast is just a hoot. Julie Gonzalo is so funny. Linda Gray is the greatest woman on the planet. So beautiful and gracious. She gave me this huge hug when I finished my boardroom scene and said, “I’m so excited you’re here.” And you know, to have that hug from Sue Ellen was spectacular.

There are a lot of people who’d like to get a hug from Sue Ellen.

And then there’s Patrick Duffy. The boardroom scene was on my second day, and I was pretty nervous. It was a big speech, so I was kind of walking backwards and forwards, going through my lines, and the rest of the cast was — I won’t say distant, but giving me my space. And so Patrick comes up to me and says, “By the way, Juan, we know how freaked out you are and how difficult this is, because we’ve all been there, so we will talk to you properly in about two weeks’ time.” [Laughs] And that was so nice because when you first join a show, it’s so nerve-wracking, and you want to do the best you can. That was really sweet of him to say that.

And he directed one of the upcoming episodes. What was that like?

That man is so talented. You’ll see that. That episode is an actors’ episode. There’s a lot of confrontation and dialogue. He did an incredible job of jumping out of the director’s chair and then [acting in] these really intense scenes. It’s the kind of episode where you say, “So this is the season finale, right?” And it’s not. There are three or four more after that.

It sounds like you’re enjoying being part of this ensemble.

We’ve had so many laughs. I watched all the Oscar-nominated movies this year with Emma Bell and Brenda Strong. We went to the cinema a lot when we weren’t shooting. It’s a really chill team, and very tight as well. We’re like a family.

Suit up for more!

And what are you hearing about the show returning for a fourth year?

Well, we’re just thinking positively. It’s difficult for a lot of shows to make it to season 2 or 3, so we’re really blessed the show’s gone this far. But we’re just looking forward to going back to Dallas.

Good. Are you hopeful you’ll be part of the fourth season?

Yep, I’m hopeful. Because Nicolas’s character … I can’t tell you anything.

Well, I’m worried about the guy because once you start killing people….

Yeah, I know. He’s treading a very fine line.

Besides “Dallas,” you just completed a movie with Matthew Morrison from “Glee.” What was that like?

It was great. Matthew’s a really cool, talented guy. It’s an independent film about this guy who loses his father to cancer and can’t really deal with that, so he decides to go onto a reality show like “The Bachelorette.” So I play this guy who’s called Dunkin, and he’s his nemesis on the show. I’m playing a manipulative character, someone who’s using his charms to get what he wants, and manipulating people’s feelings to win the show.

Sounds like a fun movie. When will that come out?

It’s being prepared for the Sundance festival, so sometime early next year.

You also write and direct.

Right. I’m finishing a script that I’ve been writing for five years with a friend from Argentina. I’ve directed five or six short films and couple of music videos when I was living in the U.K. I love it. I still have to do my first feature, but right now, I’m just excited to be Nicolas. I cannot wait for people to see more of him because he’s a twisted, twisted guy.

Share your comments below and read more Dallas Decoder interviews.

Watch you backs, darlins

Warning: This article contains clues about the identity of the Ewing who’ll die during “Dallas’s” September 22 cliffhanger.

The character who dies in “Dallas’s” season finale is named Ewing, executive producer Cynthia Cidre told Dallas Decoder yesterday. “It’s a Ewing we know well,” she said.

Cidre declined to give additional details about the death, which has been the subject of intense speculation among fans since earlier this week, when TNT began airing a promo that promises “one Ewing will die” during the September 22 telecast.

Some fans predicted the show would kill off someone who is close to the Ewings but not necessarily a family member, but Cidre’s comments suggest this won’t be the case. She wouldn’t say if the character is played by one of the show’s main cast members, which keeps alive another fan theory — that the show will kill off someone from the original series, not one of the regular characters on TNT’s version.

The two-hour finale will be comprised of two episodes, “Endgame” and “Brave New World,” that will air back-to-back. Cidre said the death will come toward the end of the second hour, but it won’t necessarily be the last scene.

The “Dallas” producers decided to kill off the character for storyline purposes, not because the actor or actress wanted to leave, Cidre said. “It’s really what serves the story. We knew we wanted to hit something big at the end of the season. This is our first year without Larry [Hagman], and we wanted to make our own name in the ‘Dallas’ universe. It’s a pretty amazing scene,” she said.

Executives from both TNT and Warner Bros., the studio that produces “Dallas,” encouraged Cidre to go through with the death storyline when she pitched it to them. “They came back and said, ‘Trust yourselves. If you think it works, do it. … See if you can surprise [the audience] again.’”

Cidre predicted fans will be eager to see what happens to the Ewings after they lose one of their own. “New things are going to happen. There’s going to be new blood. There’s going to be new conflict. … You can’t just keep playing the same conflicts over and over again,” she said.

The two-hour finale will find “pretty much all” the characters in physical jeopardy, Cidre said. The first hour is more action-packed, while the second hour wraps up the year’s storylines before concluding with what she called “our biggest cliffhangers of all time.”

More “Dallas” dish from Cidre:

• On preparing for a fourth season: Although TNT hasn’t renewed “Dallas” for another season, the show’s writers are back at work crafting storylines in case the series gets picked up. Cidre has delivered a 60-page “bible” outlining the new storylines to TNT and Warner Bros., and the first few scripts have been written. If TNT decides to bring the show back, Cidre said the network will probably announce the renewal in October, and cameras will start rolling about six weeks later. “We still have our building, we have our stages, we’re paying rent. We just don’t have an official pickup,” she said.

• On possible fourth-season airdates: Cidre’s writing team has been told to prepare another 15-episode split season. If “Dallas” is renewed, she expects the show to follow the same schedule it did this year, with eight episodes beginning in mid-February, followed by a break and the year’s final episodes starting in August.

• On “Dallas’s” Monday time slot: Although many fans wish TNT would move “Dallas” to a less competitive night, Cidre said she doesn’t mind airing on Mondays. However, she wishes “Dallas” could follow “Major Crimes” or another one of TNT’s popular dramas. “Because our show is sexier, we do get a slightly different demographic. It would help to have a lead-in,” Cidre said.

Which Ewing will die during “Dallas’s” season finale? Share your predictions below and watch “Dallas’s” two-hour season finale Monday, September 22, on TNT.

There’s still no telling which Ewing will die during “Dallas’s” third-season finale, although executive producer Cynthia Cidre offered a helpful hint when she told Dallas Decoder the death will be storyline-driven. So whose demise would yield the most drama? Here’s how the loss of certain characters might affect the storytelling.

Please don’t go, girl

Ann Ewing. Even if Bobby brings Ann and Emma home from Mexico, the gals may not be out of danger. Suppose there’s a final clash between the Ewings and the cartel and Ann gets caught in the crossfire? What if Bobby holds Harris and Judith responsible for her death and embarks on a quest for revenge? It would add another dimension to the Ewing/Ryland feud while evoking the last season of the original show, when April was murdered and Bobby became obsessed with getting revenge. Of course, Bobby’s anger after Ann’s death would probably pale in comparison to the rage Brenda Strong’s fans would feel if “Dallas” kills off Ann — and can you imagine how upset they’ll be when Bobby starts dating again? (You know he will. It usually doesn’t take Bob long to mend a broken heart.) Even though Ann’s death could open new storylines for Patrick Duffy, it would be sad to see “Dallas” lose Strong, a marvelous actress and one of the show’s biggest boosters on social media. Nevertheless, like KSiteTV points out, our beloved Annie might be the likeliest to go.

Like father, like son?

Christopher Ewing. If the thought of watching Bobby lose yet another wife doesn’t put a lump in your throat, imagine what it would be like to see him lose a son. Dropping Jesse Metcalfe from “Dallas” would be shocking, although the show would undoubtedly send Christopher out in a blaze of glory. Suppose Nicolas runs afoul of the Mexican drug lord El Pozolero, who retaliates by ordering a hit on Elena — only to have Christopher take the bullet for her? It would be this “Dallas’s” version of Bobby pushing Pam out of the path of Krazy Katherine’s car, minus the “it was all a dream” twist. Once again, Bobby might blame the Rylands for bringing the cartel into the Ewings’ lives and seek revenge, giving Duffy a powerful storyline next year. Christopher’s death could also allow “Dallas” to introduce a grown-up version of Lucas, Bobby’s biological son with Jenna — and not a moment too soon. Now that Pamela, Elena and Emma have all taken turns in John Ross’s bed, aren’t the “Dallas” leading ladies going to be in the market for some fresh beefcake?

Adios, Elena?

Elena Ramos. Cidre told Dallas Decoder the character who dies is named Ewing, adding, “It’s a Ewing we know well.” This would seem to rule out Jordana Brewster’s character — unless there’s a quickie wedding between Christopher and Elena during the season finale and Elena kicks the bucket shortly thereafter. It’s true the show has set the stage for Elena to be at the center of a “who’s the daddy?” pregnancy storyline, now that she’s bedded both Nicolas and John Ross while using her Swiss cheese diaphragm. But what if all that pregnancy business is a decoy to throw fans off the Elena death trail? In Cidre’s Ultimate Dallas interview, she coyly hinted the pregnancy storyline won’t play out the way the audience expects. Could that mean it won’t play out at all? Whatever the case, as much as I like Brewster, killing off Elena could be an efficient way to get rid of the Ramoses, whom many vocal fans never warmed to. Think about it: Now that Drew is dead and Carmen has quit working for the Ewings, what’s left for Elena to do?

Gone, darlin’, gone?

Pamela Barnes Ewing. Now here’s a death that would truly suck. Julie Gonzalo and her character are hugely popular, especially among fans who are clamoring to see John Ross and Pamela get back together. But what if the Bobby/Ann scenario described above happens instead to John Ross and Pamela? Suppose she dies tragically at the hands of the cartel, setting John Ross off on a mission to destroy Nicolas and/or the Rylands? What if Cliff blames John Ross for his daughter’s death and comes after him, creating a circle of vengeance? There’s also the Barnes/Ewing feud to think about. Does Cliff have other kids who might crawl out of the woodwork to do battle with the Ewings? Or what if — I can barely bring myself to write this — the show decides to drop the feud altogether? Pamela did declare it was over recently (although she also said her fight with John Ross is just beginning). I can’t imagine “Dallas” without these two families squabbling, but don’t forget the title of this season’s final hour: “Brave New World.” Could that be the biggest hint of all?

No, nope, nada

Bobby, Sue Ellen or John Ross Ewing. I refuse to entertain the thought of any of these three characters dying. It also seems unlikely the show would kill off a beloved character from the original “Dallas.” It’s hard enough to imagine losing Ann, Christopher and Pamela! If pressed, I guess I could envision a scenario in which … nope, sorry. Can’t do it.

Which Ewing do you think will die? Share your thoughts below and watch the two-hour season finale of TNT’s “Dallas” on Monday, September 22.

Brace yourself, Annie

“Dallas” wrapped up its season on one of the most competitive nights of the year — and it has the numbers to prove it.

The two-hour season finale debuted September 22 to approximately 1.72 million viewers, the show’s smallest Monday audience this year, according to Nielsen. This included 560,000 adults between ages 18 and 49, a group advertisers pay top dollar to reach.

“Dallas” fans and people who work on the show were hoping it would get a lift from the much-touted finale, in which TNT promised one of the show’s main characters would be killed off.

“Could the numbers have been better? Yes, but this was a tough night to end the season on,” said Marc Berman, editor of TV Media Insights, an industry news site.

The season finale consisted of two episodes, “Endgame” and “Brave New World,” that aired from 9 to 11 p.m. in most time zones. The competition included the season premieres of NBC’s “The Voice,” which averaged 12.7 million viewers from 8 to 10, and “The Blacklist,” which drew 12.5 million viewers from 10 to 11. The debut of the CBS crime drama “Scorpion” scored 14 million viewers from 9 to 10.

On cable, “Dallas’s” competition included ESPN’s “Monday Night Football,” which averaged 13.3 million viewers throughout the evening.

“Dallas’s” September 22 audience is down about 8 percent from one week ago, when “Boxed In” debuted to 1.86 million viewers, including 540,000 viewers between ages 18 and 49. However, “Boxed In’s” total audience climbed to 2.8 million viewers when you count DVR users who recorded the episode and watched it within three days of its debut.

The other dramas on TNT’s late summer/early fall schedule aren’t faring better than “Dallas.” On September 17, the Wednesday entries “Legends” and “Franklin & Bash” drew 1.63 million and 1.52 million viewers, respectively.

Overall, “Dallas” averaged approximately 1.94 million viewers on Mondays this year, down from about 2.66 million viewers on Mondays during its second season and more than 4 million viewers during Season 1, when TNT showed it on Wednesdays.

The network hasn’t announced whether “Dallas” will be renewed for a fourth season, although executive producer Cynthia Cidre told Dallas Decoder last week that the show’s writers are cranking out scripts so the series will be ready to go into production if it’s picked up.

What do you think of “Dallas’s” latest ratings? Share your comments below and read more of Dallas Decoder’s news coverage.

Cynthia Cidre

Spoiler alert! “Dallas” fans are still reeling from this week’s season finale, in which Christopher (Jesse Metcalfe) was killed when his car blew up and John Ross (Josh Henderson) learned J.R. has a secret daughter. I spoke with executive producer Cynthia Cidre about the cliffhangers — and what fans will see if “Dallas” returns next year.

Is Christopher really dead?

Yes. Believe me, we thought about teasing that: Did he die? Did he not die? And then, because I knew he was going to be dead for sure, I just felt dirty about doing that. It didn’t feel honest. So I thought the explosion was pretty big, and pretty definite — although I’m told all the blogs are saying he’s not really dead.

Yeah, the readers on my site are filling up the comments section with all kinds of theories.

That’s fun. I’ve got to read that.

But why kill a Ewing?

Well, we aim to surprise everybody — always. We like doing what you don’t see coming at the end of every season. I thought we did that well in Season 1, when we found out Rebecca was Pamela Barnes, and then we had Season 2 end with Elena finding out J.R. cheated her father. We always want to do the unexpected. And what would people expect less than if you actually killed off one of your main characters?

Swan song

Why Christopher?

If you really think about it, there were really only two options. I couldn’t kill Sue Ellen or Bobby because somebody might kill me. I couldn’t kill John Ross because the show is really on Josh’s shoulders since Larry [Hagman] died. That left Ann and Christopher. Whose death would have the bigger impact? It would be Christopher’s.

Was there a lot of debate in the writers’ room?

We pitched it back and forth for months and months: “Are we doing it? Can we do it? Are we insane? This will drive the fan nuts. They’ll want to watch the next season to see what happens. No, we can’t do it. Yes, we can. No, we can’t.” And by the way, it costs a lot of money, so we had to get permission from the studio and the network. Finally, when the money came through, Mike [Robin, a “Dallas” executive producer and director] and I looked at each other and said, “Oh, my God. I guess we’re really doing it.”

When was the scene filmed?

Only about three weeks ago. That we kept it secret is more incredible. At a certain point, only the writers and Mike knew, and then it became the studio, and then it became the network. Every time it went to someone else, I would freak and think, “How are you going to keep this secret?” Then we had to budget it and schedule it, and that involved a whole other film crew because our crew was not working. So we used the crew for “Major Crimes.”

You kept it in the TNT family.

They didn’t know what they were shooting. They knew there was going to be an explosion, but they had no idea what show, what character. And then when Jordana [Brewster] showed up on set, they realized, “Oh my God, we’re shooting the finale for ‘Dallas.’” We talked to them afterwards and said, “Guys, you’re so great to do this. You showed up on a Saturday. Thank you for your time. Please, please, please keep this to yourselves.”

Jesse Metcalfe gave a nice statement to Entertainment Weekly. What was Jordana’s reaction to the news?

I only told her the night before we shot it. She was shocked. At first she thought we were killing her because we wouldn’t tell her what we were shooting. So I finally told her, “Just rest easy. We’re not killing you, okay?”

It was a big twist, which is why I’m sorry it aired on such a tough night. What’s your reaction to the ratings?

Well, we held our own, which is insane since seven other shows premiered that day. There was “The Blacklist,” there was “The Voice,” there was “Monday Night Football.” Literally, I’m stunned. But we’re a DVR darling. Every episode this summer has gone up [significantly in viewers through DVR playback]. All I can do is make a show we’re proud of and hope the diehard fans show up.

Brave new world

You’re still waiting to hear whether you’ll be renewed for a fourth year, but as you said the other day, you’ve already started writing next season’s storylines. So how’s Bobby going to cope with his son’s death?

I just finished the first [episode] outline and it’s all about him. How’s he dealing with this? He has a pretty good idea who did it, even though there’s absolutely no proof. And Nicolas is in Mexico, so he can’t get to him. So you’re going to see a slightly different Bobby than you’ve seen before. He’s extraordinarily angry and vengeful, he’s extraordinarily hurt — and he’s refusing to express his hurt.

What about the rest of the family?

It affects everybody. Elena’s guilt goes without saying. She feels like her hands are dirty. There’s going to be a tortured relationship between her and Bobby. Believe me, this will be the emotional core of the show. The other thing that will be at the core of it is John Ross’s sister.

Yes, let’s talk about her. What can you say?

I can tell you that although J.R. has many spawns around town — if not around the world — this girl is different and special, and there’s a reason for that. That’s going to be the surprise that I hope will make your head spin.

You’re killing me here.

We had originally filmed the scene of John Ross finding her as an alternate ending because we didn’t know if we were going to get the money to blow up the car. But because we hadn’t cast the actress, all you were going to see was [the character’s] hand, and it was a great hand. It had bitten cuticles and some chipped nails and a bunch of bracelets. It was in a very exotic location. And we shot it, and it worked, but we thought because we’re going to move forward six months [when the new season opens], it would be better if John Ross finds her then. Because what the heck is he doing with her for six months?

So who’s this character’s mother?

It was a woman. [Laughs]

That’s good to know!

She’s passed away, so we’re not going to meet her. If I tell you that, then I would be spoiling something that I think would be a lot of fun — which, by the way, has been a pitch in our writers’ room for three years. We have something called the “duck pond,” where we throw up crazy ideas. And finally, that one looked good to us this year, so we’re employing it.

Will we see more old favorites from the original show?

Yes. There will be one who is a very, very, very popular old character. We’re excited to bring him or her back.

Wait, what? You’re not going to tell me if it’s a him or a her?

[Laughs] Okay, it’s a her. We’re looking forward to that storyline. It’ll be a lot of fun.

What about Cliff Barnes? Will Ken Kercheval be back?

Maybe. We’ve used him extensively for three seasons, but he’s in jail. We decided to leave him in jail, and so that kind of hurt us a little bit. There’s not a lot he can do from there. But there are some pitches about that also.

What about this business of adding a wing onto Southfork?

We’re doing it!

Really?

It burned! We have to add a wing. [Laughs] It’s a two-bedroom house with 15 people living in it.

But what about fans like me who consider Southfork sacred ground?

That’s why we’re going to put [the addition] in the back of the house. You won’t get to see it from the front, so the silhouette of the house will remain the same. We did not want to upset anybody. But we’ve made fun of [Southfork’s size] from the beginning.

I think that’s part of the show’s charm.

Yeah, definitely. We talk about it all the time. I mean, if you’ve ever visited that house, it’s probably 2,000 square feet, but somehow there are eight bedrooms. [Laughs]

Speaking of fans: Do you pay attention to the fan sites?

Not that much because I hate to get sucked into it. I mean, I want to hear all the good ones, and I want to hear the bad ones too. Mike Robin always leads with the good news. I lead with the bad news. That’s how I want notes from the studio. That’s how I want notes from the network. Just give me the bad news and I’ll fix it.

Listen up

Fans talk a lot about the show on social media. Do you do that?

No.

Why is that?

I don’t know. I feel like it’s passed me by — like I didn’t catch on at the beginning — and now my brain is so overloaded, unless I dump some “Gilligan’s Island” from my hard drive, I can’t learn anything new. But I know it’s very important, and thank goodness, all of our actors do it. They’re really into it, and they have a lot of followers. I also know the younger members of our writing staff do it. I just haven’t. Every time somebody tries to introduce me to it, I’m like, “No, I have so many emails I have to answer!”

But you hear what fans say. Is it hard to balance giving them what they want with pursuing your own creative vision for the show?

Maybe, because I’m not sure I always give the fans what they want. Maybe they’d like it to be more soapier than it is. I come from very dark writing. I wrote violent movies for Michael Mann and many other dark directors. That’s a place where I’m comfortable, and so I’ll often go to that place. Sometimes it works, and sometimes I have to remind myself that it’s probably not the best choice.

Can you give an example?

I just did it in something we were [discussing] for Season 4 about Pamela. I said, “How about she does this and this and this,” and then Robert Rovner [a “Dallas” executive producer and writer] said, “But that’s not empowering for her.” And I said, “You know what? You’re absolutely right.” I was going to a dark place for her. But I just want to work to the best of my ability, and I do want to make it delicious, and so I try never to steal that from the show.

You mentioned the “duck pond” in the writers’ room. Do I dare ask what other ideas are up there?

Most of them are goofy — and then one day they’re not goofy any more.

What I’d give to be a fly on the wall when you guys are discussing this stuff.

You have no idea. There are four comedy writers [on staff] and the things that get said inside that room — you can’t repeat them on the outside. Seriously, it’s insane. Every other day, I’m crying. We have fun. And at the end of the day, somehow the work gets done.

Share your comments below and read more Dallas Decoder interviews.