"The Return" of DALLAS

Article first published as "The Return" of DALLAS on TheTVKing.

TNT's Dallas reboot began its third season this week with "The Return." Picking up twelve hours after season two ended, the characters and situations are pretty much static to how they were left. Which is fine because, on this show, no one is ever done with their secrets and betrayals. More come to light, some are furthered along, alliances begin to fray or shift, and we're right back into the soapy mess of Dallas.

The spectre of JR certainly hangs over the series and always will, long after JR and portrayer Larry Hagman's deaths. Sometimes this is obvious, such as a large picture of the deceased hanging at the offices of the newly-named Ewing Global, or frequent mentions of him in battles of wills between the cast. Other times are more subtle, such as we see a flash of JR in his son, John Ross' (Josh Henderson), face or belt buckle. JR will never be forgotten, he'll always be missed, but the show must go on, and so it does.

A large part of the newest chapter of the story involves the struggle over the future of Ewing Energies. John Ross secures a deal with Ryland Transportation after sleeping with Emma (Emma Bell), but her father, Harris (Mitch Pileggi), is soon out of jail, and so that arrangement surely won't last. John Ross also has a plan to raise come capital, but Bobby (Patrick Duffy) shoots it down, wanting to protect the land around Southfork. Then there's Cliff's (Ken Kercheval) proxy, who joins the meetings to prevent any big changes to the company. So it's a rocky situation that just gets more and more out of control as it goes on.

Because of the ever-shifting relationships and frequent surprises, one never knows in which direction Dallas will go. A lot happens throughout "The Return" to change things over and over again, with the preceding paragraph just mentioning a few of those. Drama drives the show, and there's plenty of that, with more constantly being thrown in to power the engine.

Elena (Jordana Brewster) is the biggest unknown this year. She is still pretending to be the sweet girl the Ewings know, but might she destroy them, having the inside knowledge and access? It seems she could be very dangerous if she really wants to be.

It does seem like "The Return" tries to set up a Bobby / John Ross dynamic that harkens back to the Bobby / JR relationship. It doesn't quite land, though. It may be that the two just are not equals, whether you think Bobby is too smart and experienced to fall for John Ross's stunts, or Bobby is too old to keep up with the younger John Ross' ruthlessness. I understand why Bobby is chosen for this role now, rather than Christopher (Jesse Metcalfe), who has his own story, and isn't currently rising to the level of the other two. But for any lasting chemistry to be established, Christopher will have to fill the Bobby spot in the pairing, rather than using Bobby himself.

Which is not an argument to take Duffy off the show. I really like his character. He just needs to be set up against someone other than John Ross. Maybe Sue Ellen (Linda Gray) could be a worthy foe for awhile? Or maybe the family could finally unite and go against only outside forces, like Ryland and Cliff? One thing is certain, whoever the enemy is will always change from week to week and season to season, so any of these arrangements would probably be temporary.

The boys often rule Dallas so it's nice to see the girls get a chance to shine. There's a fantastic scene in "The Return" where Emma, Pamela (Julie Gonzalo), Ann (Brenda Strong), and Sue Ellen are wedding planning. There's plenty of tension, as Pamela doesn't know that Emma is sleeping with John Ross, yet there's also some affection between the older women and the younger ones. This is a more subtle scene than the conflict the males often bring, but one appreciated nonetheless.

At times, "The Return" gets a little too soapy. Characters don't act as we expect them to. For instance, who would have thought that Elena would ever be able to go evil, no matter what happens? Or Bobby would get so darn angry over minor infractions, rather than building up to a fervor? I do feel like this has markedly gotten worse in the third season than in the previous two. But it's still an enjoyable show, and it has a ways to fall before I stop watching it.

Dallas airs Mondays at 9 p.m. ET on TNT.

Back to TV’s Roots

Article first published as Back to TV's Roots on Blogcritics.

Lately, television networks have flocked to remakes and reboots as much as the cinema has. Sometimes, it works well; other times, it’s a disaster. What could or should be remade, and how do those projects that deserve to see the light of day proceed?

Crime procedurals are typically easy to redo. There are a million CSIs and NCISs on the air, so it’s clear the genre is still popular, as puzzling as that is to many critics, myself included, who quickly grow bored with formula.

Hawaii Five-0 is entertaining because it’s set in a beautiful locale and has humorous dialogue mixed with big action. Ironside is a flimsy concept whose only real departure from the norm is that the main character is in a wheelchair, not exactly a novel twist. One of these is popular and has run for years, the other is likely to get canceled in the very near future.

NBC wants to bring back Murder, She Wrote, this time starring Octavia Spencer in the role made famous by Angela Lansbury. One one hand, Spencer is a fantastic actress (though so is Blair Underwood on Ironside) and deserves her own TV series. On the other, Lansbury is iconic in the role, still stuck in our minds many years after her cancellation. As good as Spencer is, overcoming the shadow of the great lady that came before her seems a daunting task, and thus I am not optimistic about the show lasting.

Angsty dramas are a mixed bag. Melrose Place showed us how not to do it, and 90210 lasted a few years not because it tapped in to the nostalgia of the previous generation who watched the original, but because it found a new (somewhat limited) audience and didn’t rely too heavily on history. Yet, Dallas has been my favorite in this category, continuing a familiar story, mixing beloved characters with new blood in a way that gives the series new life. The only question is if it can survive without star Larry Hagman, which remains a lingering mystery.

Sci-fi also can work, but rather than continuing, like Dallas does for its drama, the series must reinvent itself. Star Trek: The Next Generation and the other spin-offs built upon the original Star Trek, but also added a lot of new elements, coming into their own. V was interesting, and had it had stronger writing, it could have lasted longer than two years. Battlestar Galactica was fantastic, re-imagining the old version completely, and surpassing its origins.

The real reason I sat down to write this column today, though, is because of the news that the History Channel is redoing Roots. In my opinion, this is a horrible idea.

Roots was an extremely popular miniseries, which won a ton of awards. History, which has only recently entered the scripted fare market, has gotten good attention with its efforts so far. From the standpoint of its brand, I could see why they would pick this property as a contender to continue to build its slate.

However, have you watched the original Roots lately? It still holds up extremely well. And being as widely viewed as it was, and continues to be in high schools across America, it is still relevant in the public conscious. Most of the people tuning in to watch the new version will remember the old, and comparisons will be inevitable. Considering the very high quality standard the original set, this seems like playing with fire.

It’s a big risk, and one I would not recommend making, as much as I think it’s great when television takes risks. It’s like if someone decided to remake the Back to the Future films, or even the Harry Potter movies, in the next few years. It just isn’t a smart idea. The payoff, should it be accomplished successfully, could be pretty good, though it’s unlikely to reach the heights of the earlier broadcast, which aired at a time of much fewer channels and competition. It seems doomed to always be pegged as the lesser edition. And that’s the best case scenario. If it sucks, it could set History back considerably.

So I have a question for you, gentle readers. Actually two. What could History do to make Roots a win in your book, and what shows would you like to see remade?

My answer for the first is to cast LeVar Burton as the older version of Kunta Kinte, which would only be a smart move for Burton is the new project is awesome, but him signing on would automatically give it gravitas and attention. For the second, besides another Star Trek series, I’d like to see a grittier, more realistic, dramatic version of Gilligan’s Island. How about you? Weigh in in the comments below.

R.I.P. Finn Hudson

Article first published as R.I.P. Finn Hudson on Blogcritics.

Death is always tragic, never more so than when the deceased is young. Even when drugs and alcohol and poor choices are involved, there is still great regret to see someone lose their life. The recent tragedy with Glee’s Cory Monteith, only 31 years old, despite being nothing new for Hollywood, is such a terrible event.

However, the story must go on. Glee has other seasons to produce, and the characters have to continue their arcs. It is the unenviable task of writers, who care about a series and quite possibly its stars, to have to figure out how to handle the next few episodes in order to pay tribute to the character and the performer behind them. This is the case no matter what the age of the actor, and given production schedules, not much time can be spared to mourn.

Many series have handled this in different ways. Recently, TNT’s Dallas wrote Larry Hagman’s JR’s death into a season-long mystery arc and used some special effects trickery to build JR himself into the plot. The West Wing had Leo McGarry die off screen when John Spencer passed, although it somewhat changed their direction for the rest of that final year.

Recasting a role may be an option in some instances, but not in this one. Monteith is arguably one of the show’s two most central characters, and any attempt to put someone else in the part would result in a huge fan backlash that would cripple the show in such a manner that it would never recover.

So Finn will either have to be killed off or be said to have departed to somewhere that he will not return from. Given his importance to Glee, it’s likely to be the former, since having Finn gone somewhere, without seeing his happy ending, would feel hollow and forced, given the direction the character has gone in.

It would have been easier, story-wise, if this had happened last summer. Season three ended with Finn joining the armed forces, and as cliché as ‘died in combat’ may be to a show, it would have made sense. Instead, the last we see of Finn, he makes up with Will and agrees to help coach the New Directions in competition… which he is never seen doing because Monteith unexpectedly went to rehab while those episodes were being filled. Frustratingly, the writers did not explain or address his absence, but surely they cannot continue that tactic now.

How will Finn be killed? I can’t imagine it will be by drugs, something his character is never shown to favor. Most likely a car wreck will be the culprit, which is also pretty done before, and Glee has already had a character critically injured in one, but it requires little explanation and will feel more natural than most choices.

Despite the comedic tone of Glee, Finn will need to go in an emotionally moving way, one that allows his cast mates to show their sorrow on screen. This will be especially true for Lea Michele, Finn’s real life girlfriend and on screen love interest. Rachel will never get to be with Finn, and that should be a driving arc for her for some time, restructuring her entire tale this fall.

Fans wants to mourn with those on screen. The actors know Monteith as a friend, but viewers feel sort of that way, too, at least towards the character of Finn. We need to say goodbye in some kind of tribute that remembers the good, minimizing the bad. There may be a funeral, there may be a montage, there may be teary speeches, but there will be something sad and honorable. No matter what Glee chooses to do, it will probably be a sorrowful, touching first hour back.

Glee will return, sans Finn, this fall on FOX.

Dallas Honors "Legacies"

The second season of TNT's Dallas draws to a close this week with two fresh hours, "Guilt By Association" and "Legacies." We finally find out what J.R.'s (Larry Hagman) master plan is, and, when the Ewings unite, Cliff (Ken Kercheval) and Harris (Mitch Pileggi) are taken down for good. Or are they?

  

For a show like Dallas, the rules must constantly change, new secrets are continuously revealed, and the players that lose one battle will return for another stage in the war. Cliff and Harris are heavily involved with the Ewing family, and thus will probably get the chance to fight another day. If Dallas is renewed, which it has not been yet.

What J.R.'s murder comes down to is that no one could ever take down J.R. except J.R. himself. It's a brilliant twist. Many might believe Cliff is responsible right up until the moment Cliff is arrested, after which it quickly becomes obvious that he is not. Cliff is the only acceptable character who could commit the act, given his long history with J.R., but there is something deeply satisfying in J.R. being the one to sacrifice himself.

For one thing, this means that no one can best J.R. Part of the draw of Dallas is that J.R. must always continue. People can come after him again and again, and yet he always survives and gets his revenge. For anyone, even Cliff, to succeed in killing him would tarnish his "Legacies" just a bit, so it's good that J.R. is the instrument of his own destruction. The character, by necessity is gone, but that doesn't mean his influence is.

For another thing, J.R. orchestrating his own death is an act of love. It's also an act of vengeance, of course, getting even with Cliff for all that Cliff has done to the family. But it proves that J.R. cares about Bobby (Patrick Duffy) and John Ross (Josh Henderson) in that he uses his final days to help them. It's a true testament that there is a heart deep within J.R., which is how the character's death has been dealt with. We feel this in the scene by the graveside, where J.R.'s letter is read, and John Ross forgives Bum (Kevin Page) for pulling the trigger, at J.R.'s insistence. It's the best moment in the finale.

Not that the victory against Cliff is final. The Ewings have their reasons to let Cliff take the fall for something he didn't do, and his own daughter, Pamela (Julie Gonzalo), also hates him for killing her babies, so even should she learn the truth, she probably won't work to clear Cliff's name. These people are content to let Cliff rot.

However, Cliff reaches out to Elena (Jordana Brewster) after Christopher (Jesse Metcalfe) abandons her. In Elena's grief, she is susceptible to Cliff's influence, believing that J.R. screwed her family. Whether J.R. is guilty or not is immaterial; Since Elena thinks that Christopher discarded her, even though he returns too late to confess his love, she may be willing to wage war against the Ewings. What she doesn't realize, or doesn't care about at this time, is that she will be Cliff's pawn in doing so.

Cliff, like J.R., is a very dangerous enemy. He doesn't mind betraying those he loves to get his way. For him, winning is a singular focus. It's why, should Dallas go on, he will rise again and have another crack at the Ewings. He simply has to.

Harris's fate is less certain. Emma (Emma Bell) has reason to hate her father, and reason to betray him. Harris isn't shown in "Guilt By Association" or "Legacies" to have anyone pulling for his side now. He has even run off his own mother (Judith Light). Alone and abandoned in jail, this could be the end of Harris's story. At least until Dallas needs an old foe to dust off in a couple of years, and then he is fair game.

The villain for now, though, is John Ross. When John Ross's mother, Sue Ellen (Linda Gray), asks him to treat new wife Pamela right, he smirks, and promptly runs off to sleep with Emma. John Ross doesn't care about Pamela or Emma; he is using both to get what they want. But since they are both women with money and influence, he could wind up regretting his actions when they learn the truth, as they inevitably will, and take it out on the Ewing clan.

Could John Ross be a worthy successor to J.R.? Is there reason for Dallas to continue past "Legacies?" I think so on the second question, am less confident on the first. Henderson plays a great character in his own right, but no one will ever replace J.R. Dallas can still continue, forging a new path. As long as John Ross doesn't try to morph into his departed father completely. But there are still stories to tell involving Pamela and Emma in regards to John Ross, and I still am not sure that the elder Pamela Barnes is dead, which could make for another season of intrigue.

Dallas has aired all of its produced episodes, and now awaits news of renewal from TNT.

Dallas Honors "JR's Masterpiece"

Article first published as Dallas Honors "JR's Masterpiece" on TheTVKing.

TNT's Dallas says goodbye to a legend this week, JR Ewing, in the special episode "JR's Masterpiece." In the installment, several people from JR's past, family, lovers, business partners, and crushes, come together with those who are still in his life every day for a funeral tribute. They talk of how he touched the city of Dallas, the goods things he did, and the type of man he was. Evil or not, he had his charms. Even if one did not watch the original Dallas, as I unfortunately have not yet done, this episode is very moving.

Even the theme song in "Face Off," redone with a sadder version of the melody and a focus on JR, is touching. It's soulful and heartfelt, and will bring tears to the eyes of many. It perfectly sets the tone right from the beginning, and is perfect for this moment.

There are lots of guest stars, but the main focus of the episode is on our main characters. For the most part, this is very welcome. I'm not sure Elena (Jordana Brewster) needs to be included quite so much, but by keeping the members of JR's family who remain closest to him the stars of the memorial, the show stages a fitting ceremony for the man and those most affected by his passing.

But as much as the hour is an honoring of the character, it is also a goodbye for the actor that played him on and off for thirty five years. JR Ewing is one of television's greatest villains, and Hagman is one of its most beloved performers. It's hard to separate the two while watching "Face Off." One may love to hate JR, but there's only affection for the kind-hearted guy behind the character, the one who manages to make an evildoer compelling. This comes through very nicely.

Those lines are blurred in "JR's Masterpiece" for fans and characters alike. The memorial service isn't a total love fest, with old foe Cliff Barnes (Ken Kercheval) bursting in to rail against the deceased. But listening to Bobby (Patrick Duffy) and Sue Ellen (Linda Gray) speak at the grave site, JR is loved dearly by those who he's hurt the most. If they can forgive him, anyone can.

I feel worst for Sue Ellen. She turns back to the drink, reading a letter where JR asks for another chance with her, romantically speaking. They have been drawn towards one another for a very long time, and for him to be ripped away before there can be resolution is very sad indeed. I wish there had been time to give them a more complete, fitting end, but with Hagman's unexpected passing, no more could be filmed, and from a story standpoint, it makes sense that death can come at any time.

Bobby also takes it rough, but has the extra challenge of keeping a secret from his family, not telling them that JR is murdered, not accidentally killed. Will Bobby begin to turn into JR a bit without his brother around to balance him out? Can he rely on those that trust him and stop keeping the truth from them? Only time will tell the direction that Bobby will go in, but I expect it to be at least a little bit darker than his recent plots.

One way to try to make up for JR's departure is to play up John Ross (Josh Henderson) as more of a villain, giving him a larger role in the series. He is obviously deeply affected by his father's death, unable to even speak at the memorial. Perhaps this will turn him a little, make him truly want to follow in his father's footsteps. He has already shown an inclination to that path. For Dallas to continue to succeed, John Ross can't be a clone, but must be somewhat of a replacement for his departed daddy. He is on his way, but he isn't there yet.

It's nice to see Christopher (Jesse Metcalfe) offer John Ross some comfort. Whether it's getting in a fight by his side, or standing by the grave long after the others have left, John Ross and Christopher can have a similar type of bond that Bobby and JR do. Even as John Ross goes down the wrong path, I hope the show keeps taking time to let there be affectionate moments between the two young men. These are some of the best scenes of the series.

Hagman's JR is a weaselly snake who betrays his own family many times over. Yet, he also protects his relations from outsiders, and can be fiercely loyal when they are threatened by someone else. As the clan discovers post-funeral, JR is investigating a couple of things just before his untimely demise, and everything he's found is relayed to the others so that they can continue the search.

The big reveal in "JR's Masterpice" is that Pamela Barnes Ewing may still be alive. This will be far more surprising to those who know who Pamela is, but even new viewers will understand that finding Christopher's mother, the love of Bobby's life, would be a big shakeup for the series. The actress who originally played the part doesn't want to return, but I understand certain plot developments make it easy to recast without messing up the plot. Not that it would be easy to pick an actress to play such a pivotal role, but story-wise, there isn't the need for much explanation. With the right person in the part, this will be truly awesome.

One thing is certain, Dallas is gearing up for war, and whoever is in the picture is in the path of harm. It's hard to tell at this point just how the battle will shape up, and a few characters may even switch sides a time or two before its over. But as disappointing as it is that JR is gone, it's cool that his character kicks off a major story arc that should be more exciting and engrossing than anything else the new episodes of Dallas have done up to this point.

Dallas airs Mondays at 9 p.m. ET on TNT.

Dallas draws its "Battle Lines"

Article first published as Dallas draws its "Battle Lines" on TheTVKing

TNT's Dallas is back this week with two new hours, "Battle Lines" and "Venomous Creatures." The installments continue the story begun last summer, with the new Ewing Energies launched, family members battle for the direction of the company, and some more secrets brought out into the open.

A pallor hangs over this season because most people know that Larry Hagman, who plays J.R., died mid-way through filming, meaning that his character won't be around much longer. J.R. really drives this program, and while lots of sentimental words have been said in the press recently, it is completely true that the show will be lacking something when he goes. Even while he stays on the fringes of the conflict, egging things on, he's still a driving factor, and no one else in the cast matches his energy and drawing power.

I think an attempt is being made to make John Ross (Josh Henderson) a fitting successor for J.R. Sadly, it's not completely working, at least not yet. Part of this is because there is already a swing towards him being a good guy in the summer run. And, in front of others, he is maintaining that nice persona. Yet, he's also being slimy, sneaking around behind backs to go around his relations. Yes, J.R. does the same thing, but without the history of J.R.'s treachery, John Ross's play for good still seems like it might be authentic. It's a shame that it's not, even if the series needs a villain.

Not that J.R. and John Ross are all bad. When Sue Ellen (Linda Gray) needs them, they go to her side in one of the best scenes in the rebooted series thus far. No one had better mess with their family without their permission.

The struggle for whether Ewing Energies should stay in oil or move to clean energy remains a linchpin of the series, and likely will for some time. It's a debate we have in society at large, too, so it's one that viewers will relate to.

I do find it interesting that the bad guys represent the oil side of things in Dallas. I don't think one can say the series promotes a liberal agenda (even should clean energy be politicized as "liberal," which I firmly feel it should not be), but there is definitely an old world vs. new world sensibility, and the heroes in this show are for progress, not maintaining outdated values. To be honest, given where Dallas is set, I would have expected the opposite.

I do think Ewing Energies is vulnerable to a take over by John Ross because Christopher (Jesse Metcalfe) is distracted by his impending divorce proceedings with "Rebecca" (Julie Gonzalo). He is so focused on getting his unborn kids away from her that his methane projects are taking a back seat. And yet, he's not focused enough to realize that John Ross is making agreements with Rebecca, who looks to be setting Christopher up for a big fall, even though Christopher is highly suspicious of both her and John Ross separately. Surely Christopher will catch on soon, no?

Of course, even should the unthinkable happen and Rebecca gets all of Christopher's share of Ewing Energies in the divorce, her and John Ross's combined stock would only make up 50%. As long as Elena (Jordana Brewster) and Bobby (Patrick Duffy) keep their portions of the company secure, then John Ross cannot take it over.

Elena is totally invested in Ewing Energies, so I don't think she'll have any problems, but Bobby has a weakness that can be exploited. His wife, Ann (Brenda Strong), learns that her ex-husband, Harris (Mitch Pileggi, now a series regular), is the one behind the kidnapping of their daughter so long ago. Now Ann has now found her daughter, Emma (Emma Bell, also a series regular), used as a cruel pawn by Harrison, but Emma has been taught to hate Ann by the grandmother that raised her (Judith Light, Ugly Betty, Who's the Boss?).

Now, the reason this matters to Bobby is because he is a good and loving husband. Ann hasn't done anything wrong, as far as we know thus far. So should John Ross talk to Harris, they could easily use the Emma card to leverage Ann and, by extension, Bobby.

Emma is an interesting plot development, to be sure, but something has to stop her from being held over Ann's head for too much longer. She has already cost Sue Ellen her election, a sad development that I was disappointed not to see play out further, since Sue Ellen gets so little story as it is. But Emma cannot continue to be used as a weapon against the family all season. That would cripple them. It looks like Ann may just have to overcome her grief, at least until Emma finds out the truth about her father and grandmother.

Dallas returns true to form, continuing the soapy drama and mystery, moving the arcs along, with really solving anything. That's the way the fans like it, and so viewers should not be disappointed. At least until J.R. is gone, Dallas continues to deliver.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! 

Television Reboots

With a new year upon us, thoughts turn to fresh starts and new horizons. However, what will be dramatically different for us in 2013 than in 2012? Most people's lives are likely to stay very similar to how they are now. The trick is to make everything old new again. It's a feat our pop culture seems quite dedicated to, especially as of late.

I refer, of course, to reboots and remakes of television series. In this day and age, we cannot leave well enough alone, or commit just to original ideas. So many television shows are new incarnations of old ones, or based on movies or other material, that it seems like they outnumber the fresh concepts. Sometimes this can be bad, and other times, it's so well done that one can't complain.

Sci-fi seems to be the biggest beneficiary of good remakes. Battlestar Galactica springs to mind as a top notch effort, a show that took a poorly executed concept from decades ago (so I've heard, I haven't actually got around to watching the original), and managed to make it a grand political, religious, war-intensive, philosophical thriller. Interweaving the things that our society hinges on, and seeing them laid bare, with the trappings of B.S. stripped away, it is a true triumph.

Doctor Who, Star Trek, and Stargate also have found new lives, continually updating themselves to stay up with the current trends. The first two of these three had some pretty solid stories in the old days, but the technology just wasn't advanced enough to satisfyingly portray them. Now, not only have the special effects gotten better, but so has the depth and complexity of the tales. Dark sells better these days, and so the optimism gives ways to dystopia.

Next up in this category: Star Wars should soon get a long-awaited, live-action small screen adaptation.

Fantasy is right up there with the sci-fi. Once Upon a Time has shown us what can be done with children's stories when they are reinterpreted with a fresh eye and a creative wit. It helps that it is starting to feel a lot like Lost, which it borrows from almost as heavily as the source material. Buffy the Vampire Slayer, arguably one of the best television shows of all time, has its roots in a crappy film. These are the types of shows that give rebooting a good name.

And then there's Game of Thrones. Previously a book series, this epic tale has capitalized on the Lord of the Rings' success, and taken the genre to a new level. It's the amount of characters, mixed with the willingness to take risks in storytelling, throwing stereotypes out the window, performed by an all-around amazing cast, that makes this one soar.

Sadly, Mockingbird Lane failed to join this list. Despite a wonderful cast and stunning visuals, the characters just weren't good enough to earn a pick-up. The concept was solid enough, making a goofy comedy into an hour-long drama, but the execution, which sold itself short, going for the easy path, rather than breaking new ground, is what killed it.

Staying in a similar vein, superheroes are still the rage. Even after the ill-fated Heroes, they continue to be attempted over and over again, taking their roots from popular comics. Smallville is the biggest so far, and is about two-thirds good, amid some terrible arcs. But Arrow shows promise as a suitable CW replacement, with many critics calling it one of the best freshman shows of this past fall. Both of these took liberties from the original stories, but stay close enough to convention to be accessible for general audiences who haven't read the books.

Of course, if one really wants to look at comic adaptation done right, look no further than The Walking Dead. The genius of the show, in which the creator of the comics also helps with the TV series, is that both incarnations embrace their medium fully. What works on the page won't necessarily translate to the screen, and the writers have been brilliant about making those distinctions, while keeping the premise at heart. Plus, killing characters off at different points and in different ways keeps viewers guessing, and makes the show its own unique experience.

We Americans sometimes look across the pond for inspiration. One of the best examples of a remake here that made the premise its own is The Office, finally bowing out this spring after a long, mostly enjoyable run. Similarly, Ugly Betty took a Mexican telenovela and turned it into something great in English.

Being Human is doing its own thing, in a good way, and Homeland and The Killing do for drama what The Office does for comedy. All of these owe American ignorance of other cultures for their praise. After all, if the original is good, why remake it? Except, many of us still refuse to watch the originals, especially if we have to do it with subtitles. This seems a glaring flaw in our national makeup, but one not likely to be corrected anytime soon. As long as our versions are as good as those I've just mentioned, and not another failed attempt at Coupling, we're OK.

CBS's Elementary has been an interesting experiment this year. In a landscape so flooded with current Sherlock Holmes iterations, this one still manages to be different than its peers, and entertaining. I have a few complaints, but overall, it's been a pretty solid fall run.

The pitfall Elementary must avoid is sticking too close to its crime procedural set up. After all, aren't all the CSIs and NCISs just remakes of themselves? Hawaii Five-0 is also in this category, though I hear that the new episodes remain pretty decent; I gave up because crimes of the week usually get pretty boring, pretty quickly.

I could say the same thing about medical dramas, except, for some reason, these tend to be more character-driven. Maybe Grey's Anatomy owes its roots to ER, but if they're both good, why complain? (Disclosure: I did not watch ER).

One tactic I applaud is continuing a previous series. Perhaps Dallas was ready to end after spending the better part of two decades on the air (I don't know for sure, I was too young to watch), but I am glad they brought it back now, as it was a highlight of last summer. I cannot wait for Arrested Development to make its highly anticipated return on Netflix. I wish more shows would do this, calling back the cast members who made the show special in the first place, rather than trying to completely revamp itself, a la 90210.

I think, again, we could learn from the British. Obviously, its Doctor Who is a continuation, and a very, very good one at that. But it's far from the first time they made new episodes of a series that was over and done with. Absolutely Fabulous had new entries last year. Sure, we occasionally get a TV movie, like we used to with The Waltons and The Brady Bunch continuations, but mostly, nowadays, once a show is over here, it's over. Why? This doesn't make sense to me.

I've mostly listed the good shows, but I'll give you a few of the recent bad here, without too much explanation, as they don't deserve it: The Bionic Woman, Charlie's Angels, Melrose Place, Free Agents, Eastwick, V, Flash Gordon, Skins, American Gladiators, Crusoe, Kath & Kim, Knight Rider. These are some of the many reasons folks argue against a reboot.

It's pretty clear that reboots and remakes are not going away anytime soon. And I don't necessarily want them to, not when there are so many great ones to list above, including some of my favorite programs on television. I guess, the point is, when considering a reboot, those in the creative industry should ruminate more fully on what has worked and what has not. If it's obvious to the fans the reasons some of these shows soar and some flop, it should also be apparent to execs. There are lessons to be learned. Take them to heart, and we'll all be happier.

After all, we do not want a new Gilligan's Island on the fall 2013 slate. Unless there's a smoke monster.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published as Television Reboots on Blogcritics.

Dallas faces "Revelations"

Well, it was nice while it lasted. After things briefly looked up for many of the Ewings and assorted gal pals, it all came crashing down in the first season finale for TNT's Dallas, "Revelations." Southfork is safe, as is Sue Ellen's (Linda Gray) run for governor. But everything else, from relationships, to business deals, to shady enterprises, to family members actually getting along, imploded in spectacular fashion. What else would one expect from the legendary TV soap?

The biggest disappointment in "Revelations" is the falling out between Christopher (Jesse Metcalfe) and John Ross (Josh Henderson). All Bobby (Patrick Duffy) wants is for his family to stop fighting, and for a bit, with the creation of Ewing Energies, it looks like that might happen. After watching the cousins fight all season, it's heartwarming to see them getting along, and it proves there is affection within the clan.

Then the extent of John Ross's mis-dealings are exposed, and he's back on the outs with Christopher and Bobby, vowing revenge. Could Christopher have lasted in a happy life for very long? How soon before he began scheming again, even with their love and approval? I guess we'll never know, because the good guys in Dallas need foes, and apparently there weren't enough already without Christopher. It's just a shame this plot didn't get a season or two to play out, as John Ross has been wonderfully swaying between light and dark, and it would have been nice to give light a chance before turning him completely into his father's son.

J.R. (Larry Hagman) is delighted by this disaster. Scraping by, getting himself and John Ross off the hook for fraud charges, he seems positively delighted that John Ross has dedicated himself to taking down Christopher. After all, while we do get a chance to see that J.R. really loves Bobby in "Revelations," their feud gives J.R.'s life purpose. It drives him, and without it, he would be nothing. It's twisted, yes, but J.R. has succeeded in sending John Ross down the same path. They won't ever destroy their relations completely, as that would take all of the excitement out of their lives. But they will battle viciously. Seems the great view is not all John Ross has inherited from his father.

This leaves the fate of Ewing Energies up in the air. Christopher and John Ross are already tied together in business, apparently, seemingly too late for them to dissolve the enterprise. That's acceptable, even if it feels a little forced, because it keeps them in close contact, and gives them an arena to play their game in.

John Ross has another level of distaste for Christopher because he believes Christopher stole his girl, Elena (Jordana Brewster). It doesn't matter that Elena was with Christopher first, or that she was driven away by John Ross's own actions. The bottom line is that she switched cousins (again), and so John Ross is driven by jealousy, as much as by abandonment and neglect. This episode almost feels like the origin story of a super villain.

Christopher is freed up to go back to his first love because he learns part of Rebecca's (Julie Gonzalo) secret. She is not actually named Rebecca. This should null their marriage, since she committed fraud, stealing someone else's identity. Sadly, they do have kids on the way that are legitimately theirs, which just puts the children in the middle of a mess that will have to be sorted out next season.

But the Ewings do not realize that, while we do not yet know Rebecca's real first name, her last name is Barnes. As in Cliff Barnes (Ken Kercheval), an old antagonist for the family. Dallas has done well walking the line between reliving the glory days of its previous run, and injecting new blood into the mix. Finding out that "Rebecca" is Cliff's daughter ties the two paths even more firmly together, cementing this as a continuation of the old series, but also keeping it fresh and interesting. It should make for an expanded role for Cliff in season two, adding another alum to the lineup.

As mentioned in the opening, Sue Ellen not only survives "Revelations," but triumphs. With a big assist from Ann (Brenda Strong), she salvages her run for governor and defeats her enemies. For now. Sue Ellen, more than Bobby or J.R., has a small part in season one. Hopefully, with her involvement in politics, she will get more screen time and importance in season two. After all, this puts her in a very rich vein to mine.

Ann's own win comes when she confronts her ex, Harris Ryland (Mitch Pileggi). Yes, she is there to protect her family, including Sue Ellen. But Ann is also there for herself. Too long she has been bullied by this man, and even moving on to a second husband doesn't save her. But wearing a wire and playing him like a finely tuned piano finally lets her come out on top, and put Ryland in his place. It's a great moment for Ann, showcasing some serious strength of character, something we didn't really see until now, and it will be awhile before Ryland messes with her again.

Dallas gave a great first ten episodes, but that's surely just a taste of what they have in store. Last time, the series lasted a decade and a half. After a nice long break to recharge, how many more seasons do they have in them? Any chance of matching that old sprint? It's too soon to tell, but the early signs are positive.

Dallas will return to TNT in January.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first posted at TheTVKing

"Truth and Consequences" rear their heads on Dallas

For those who wondered if the new TNT continuation of Dallas would unfurl the drama slowly, this week's episode, "Truth and Consequences," proves the answer to that is a resounding no. Only five hours in, J.R.'s (Larry Hagman) scheme to buy Southfork has come to fruition, leaving Bobby (Patrick Duffy) scrambling to save his family estate from his conniving brother. This can only be done if Bobby finds proof that J.R. knew about the fraud in the sale, which is pretty difficult, what with J.R. skipping town and all.

To have Southfork trade hands from Bobby to J.R. so early in the series'  run is very surprising, but gratifying. Personally, I assumed Bobby would catch on before it was too late. There is a very real chance that Bobby will wrest control back by the end of the season. But the battle over the land certainly seems to be the first major struggle between the brothers, and one that will definitely have some legs for awhile.

In this contest of wills, Bobby is most definitely the good guy to J.R.'s villain. Yes, J.R. has a right to be angry that Bobby acted behind his back. Yet, J.R. doesn't deserve the property. And because Bobby is honest about his intentions and motivations, at least, that looks to be true based on what we've seen, it's hard to imagine how anyone could root against him. Which doesn't mean that J.R.'s evil glint isn't thoroughly enjoyable.

As clear cut as the brothers' feud is, the fight between their sons is much more murky. Both Christopher (Jesse Metcalfe) and John Ross (Josh Henderson) have their positives and their negatives. While the balance has thus far put Christopher in the better light, the events of "Truth and Consequences," no matter how justifiable, may just begin to tip the scale.

John Ross is a snake. Viewers have seen this. He did help his daddy plot to take Southfork, and just because J.R. cut him out of the deal doesn't absolve him from his earlier involvement. For this, John Ross deserves to have bad things happen.

Yet, there is a certain amount of sympathy due to the young man. After all, he is J.R.'s son, and that surely comes with some suffering. And he really does appear to be in love with Elena (Jordana Brewster), even if, in the name of business and family loyalty, he cheats on her and doesn't stay true to her. Plus, with Christopher breaking into John Ross's place, and Elena mistrusting John Ross for the wrong reasons, he doesn't deserve everything that is heaped on him. Though he does deserve punishment for things that have not yet been exposed.

Christopher, on the other hand, isn't dealing with matters so well. Losing Southfork is pretty tough to stomach, and finding out that his new wife, Rebecca (Julie Gonzalo), is trying to steal his money isn't exactly easy, either. Getting drunk, breaking and entering, theft, blackmail, and being mean to Elena are not excusable, even under these pressures. Christopher needs a break if he is going to retain his humanity. Which he still has, as seen in "Truth and Consequences," when he decides not to hurt Elena by showing her John Ross's sex tape.

There is much room for debate in the question of who should be with who, romantically speaking. John Ross loves Elena, but she shouldn't trust his lies. Christopher deserves a second chance with Elena, now that he knows she didn't break up with him via e-mail, but he'll need time to regain her trust and affection. Rebecca does care about Christopher, even if she only gets that message across to Ann (Brenda Strong), so I kind of want Christopher to give her a second chance. After all, most of the bad stuff she did was Tommy's (Callard Harris) fault, with Rebecca remaining partially ignorant, even if she should have known better. And Dallas hasn't even tried a John Ross / Rebecca pairing, which will have to come up at some point.

Now that J.R. has control, the drilling on Southfork has begun, forever alternating the picturesque landscape. Ann wants to halt the work before it destroys too much, so she goes to her ex-husband, Harris Ryland (Mitch Pileggi, Grey's Anatomy, The X-Files), who just happens to be essential to J.R.'s plans. It's a coincidence, to be sure, but not too far outside of the realm of believability. After all, the big oil men of Dallas all must move within certain circles, so for Ann to have a connection to another power player, besides the Ewings, comes across as natural.

What will Ann do to help Bobby? What should she do? Her ex appears to be abusive emotionally, if not physically. What might he ask for from Ann to kill the deal? There is a lot of money on the line, so Ann has to offer him something extremely worthwhile. It doesn't appear that he wants anything sexual. This story should be fun, whatever way it goes, and at least Ann finally gets to do something besides play the supportive spouse.

With so many interesting and twisty plots constantly developing in new, unexpected directions, Dallas is the guilty pleasure show of the season, all the more welcome now that Desperate Housewives, whom it sports a not inconsequential number of alumni from, is gone for good. There are some plot holes in the stories, but overall, it's fun, and that's pretty important for a summer series. Watch Dallas Wednesdays at 9 p.m. ET on TNT.

Check out my new website, JeromeWetzel.com  If you like my reviews, please follow me on Twitter! Article first published on TheTVKing.com

Return to Dallas

 One of the most anticipated events of the summer is TNT's revival of the classic prime time soap drama, Dallas. Just over two decades since the fourteen season drama bowed off the air, it returns, a continuation to the original. This is not a reboot or a remake, but rather, continues the story started years ago, adding a new generation into an old rivalry, and it does not disappoint.

As the first episode, "Changing of the Guard," begins, J.R. (Larry Hagman) is suffering from a deep depression, unresponsive to visitors. Brother Bobby (Patrick Duffy), happy in his own life with wife Ann (Brenda Strong, Desperate Housewives), and facing a terminal illness, regrets their fraternal tension, hoping that their sons will not continue the horrible tradition.

But Bobby's hopes are not destined to come true. J.R.'s son, John Ross (Josh Henderson, huh, Desperate Housewives), is secretly drilling for oil on the family's property of Southfork, and finds it! A wrench is thrown into his plans to make the family rich in this business when Bobby announces his intention to sell Southfork, planning on giving the profits to his own son, Christopher (Jesse Metcalfe, would you believe it, Desperate Housewives), who seeks to develop clean energy. The battle is on, with twists and turns that soon reawaken J.R.'s ornery spirit.

There is something somewhat fitting that J.R. sits dormant until this new opportunity to tangle emerges. Even those not familiar with the original series have heard about how ruthless this character can be. Without an enemy to fight, he becomes unneeded in the world, and shuts down. But now that Bobby is poking the dragon, so to speak, J.R. comes back to life. Upon learning that John Ross intends to cross him, too, J.R. really digs in. Watch out!

Of course, in a series such as Dallas, there is never just one thing going one. As fun as the feuds are, there also has to be romantic tension. John Ross is furious when he learns that his gal, Elena (Jordana Brewster, Desper...er, Chuck), is only with John Ross because she received a breakup e-mail from Christopher years ago. Neither Christopher nor John Ross sent the e-mail, so who did? And does it even matter anymore, as Christopher almost immediately weds Rebecca Sutter (Julie Gonzalo, Eli Stone, Veronica Mars), who has a secret of her own?

Rounding out this gang is original cast member Linda Gray, who plays J.R.'s ex-wife, and John Ross's mother, Sue Ellen. Sue Ellen is preparing to run for governor, but her connections with the family may prove a little more tumultuous than is generally considered good for a campaign.

Having not been a viewer of the original, I cannot say if these new installments live up to their predecessors. This Dallas, though, is a guilty pleasure. It's an entertaining ride, with more twists than a lasso. It doesn't feel dated, even though the old timers still figure prominently into the plot, nor does it come across as a teeny bopper's delight, despite the new blood. There is a nice balance stricken, and this is certainly a series I will be tuning into weekly for the foreseeable future.

Watch Dallas Wednesdays at 9 p.m. ET on TNT.

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