Mama’s here

No one who watches “Boxed In” will forget the scene where Ann, Harris and Judith are overcome with grief after hearing Luis fire the gun he’s been holding at Emma’s head. It’s the most harrowing moment I’ve witnessed on television since last year, when Walter White abducted his infant daughter while his wife kicked and screamed and tried in vain to stop him. Just as that sequence demonstrated how far “Breaking Bad’s” antihero had sunk, the moment of crisis on “Dallas” reveals new things about its characters, including the depth of Ann and Emma’s bond, Harris’s capacity for compassion and — the biggest surprise of all — the discovery that Judith Ryland is a human being. Who knew?

The “Boxed In” scene begins when Luis, who’s holding Ann and Emma hostage in a Mexican “kill house,” receives a phone call and learns the Rylands aren’t adequately honoring their deal with the drug cartel. Luis erupts in anger and yanks Emma off the sofa as Ann struggles to hold onto her. While another thug detains Ann, Luis drags Emma to the basement, where he dials Judith’s number with one hand and holds a gun to Emma’s head with the other. Luis and Judith exchange recriminations, he cocks his gun, Judith begs for mercy, Emma pleads for her life, and then: Bang! Ann screams and Judith collapses into Harris’s arms, and then we return to the basement, where we see Emma is still alive; Luis merely put a bullet in the wall.

Another “Dallas” fake-out? Yes, and what a relief. Besides delivering fresh insight into these characters, the sequence is an impressive technical achievement for director Rodney Charters. Consider the complexities: The scene involves five characters in three settings (Luis and Emma in the basement, Ann upstairs, Harris and Judith back in Dallas), and yet Charters manages to unite all of them in a single, terrifying moment. When I interviewed Charters recently, he told me this episode contained a scene he regards as one of his proudest “Dallas” achievements. I suspect this is the one he was referring to.

The “execution” scene is also a triumph for the five actors, beginning with Brenda Strong, whose scream after the gunshot is painfully real, and Mitch Pileggi, who quietly, movingly mutters “damn you” when Harris believes his daughter is dead. (Is he chastising Luis or himself)? Also impressive: Antonio Jaramillo, who goes from charming at the beginning of the episode to downright evil in this scene; Judith Light, who makes you feel her character’s anguish; and Emma Bell, who is heartbreaking at every turn. It’s especially touching to see Emma reach for Ann and call her “mom” when Luis pulls her into the basement, and I love Emma and Ann’s reunion after the ordeal, when Strong sits on the basement floor and rocks Bell in her arms. In an episode about the “Dallas” characters forming unlikely alliances, nothing can match the power of seeing Ann and Emma finally become mother and daughter.

Many other scenes in “Boxed In” are thrilling too, especially when Patrick Duffy’s character is involved. How can you not love seeing the cartel thug approach Luis and announce — somewhat nervously — that “Bobby Ewing is here.” For longtime “Dallas” fans, no four words could be more reassuring. Yes, Bobby’s scheme to win Ann and Emma’s release by bringing a train full of drugs into Texas makes his plot to frame Cliff Barnes for murder seem quaint, but no matter. Bobby will always be our hero, and Duffy has mastered the art of playing a good guy who’s also a badass. In “Boxed In’s” last scene, when Luis greets Bobby by pointing out how risky it is for him to come to the kill house, Duffy squints his eyes and coolly responds: “Well, you seem like a nice enough fella.” Could Eastwood have delivered that line any better?

I also like how Bobby deftly manipulates Luis, pressuring him to accept his drug train offer by playing on his insecurities. “You can continue to hold the women if you want, or you can be smart and show your boss that you were the one who could amass a giant fortune in one night,” Bobby says. Does he know Luis is envious over the favoritism shown toward Nicolas by the Mexican godfather El Pozolero? Or has experience taught Bobby that in any family-run business, there’s always a jealous brother lurking about? Duffy’s other great moment comes when Judith approaches Bobby on the airport tarmac, takes his hand, and says, “Emma is all I have. Thank you.” Duffy plays the moment beautifully, becoming a stand-in for the audience. He’s as surprised as we are to learn Judith is human.

“Boxed In” comes from scriptwriter Gail Gilchriest, whose previous third-season effort, “Playing Chicken,” also found Bobby saving the day. This time around, Gilchriest gives Pamela a heroic role too. She travels to Las Vegas and persuades Nasir, the sheik’s son, to give the Ewings a huge loan so they can buy up the divisions of their company being dumped by the cartel. Julie Gonzalo is wonderfully crisp in this scene, which contrasts nicely with Pamela’s previous Las Vegas visit, when she played the dutiful wife who hovered in the background while her husband was wheeling and dealing with the sheik. (One gripe: Why does Pamela tip her hand and tell John Ross she’s planning to take him for everything he’s worth? It reminds me of the time Sue Ellen revealed the details of her plan to divorce J.R., allowing him to undermine her efforts. In another Sue Ellen-esque move, Pamela sets up house inside Elena’s cottage, recalling all the times Linda Gray’s character moved across the hall from J.R. during their marital crises.)

There’s a lot more to like about “Boxed In,” including the cinematic scope in several shots and the episode’s skillful use of color, particularly the way the golden hues in the exterior Mexican shots contrast with the black and faded browns inside the kill house. I also love the handheld camerawork, which heightens the frenetic pacing and sense of urgency. And despite the heavy drama, this episode isn’t without its light touches, beginning with the scene where John Ross strides into Bobby’s den and finds none other than Harris Ryland standing there, helping the Ewings plot their rescue of Ann and Emma. You can hardly blame John Ross for being surprised; Harris never makes it past the driveway when he comes to Southfork.

I doubt the alliance between the Ewings and the Rylands will last, which is too bad in light of TNT’s promo this week for “Dallas’s” two-hour third-season finale. Now that we know the Ewings are about to experience another death in the family, they’re probably going to need all the friends they can get.

Grade: A

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Good guy/badass

‘BOXED IN’

Season 3, Episode 13

Telecast: September 15, 2014

Audience: 1.86 million viewers on September 15

Writer: Gail Gilchriest

Director: Rodney Charters

Synopsis: When Harris tells Bobby that Ann and Emma are being held hostage, Bobby comes up with a plan to appease the cartel: He persuades his fellow railroad commissioners to approve an emergency training exercise that will allow the cartel to bring a trainload of drugs into Texas undetected. Bobby goes to Mexico to pitch the deal to Luis, who accepts the offer but says he’ll free only one of his hostages. Meanwhile, when the cartel begins selling off Ewing Global’s divisions, John Ross and Pamela join forces and persuade Nasir to loan them the money they need to purchase the divisions in exchange for a piece of the Arctic leases. After Nicolas confesses his cartel connection to Elena, Lucia receives the photographs her private eye snapped of Nicolas and Elena together. Later, Lucia agrees to tell Christopher where her husband and Elena are.

Cast: Deke Anderson (Bill Weathers), Emma Bell (Emma Ryland), Jordana Brewster (Elena Ramos), Angélica Celaya (Lucia Treviño), Eduardo DeLeon (Raoul), Juan Pablo Di Pace (Nicolas Treviño), 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), Jesse Metcalfe (Christopher Ewing), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Pete Partida (Jacobo), Brenda Strong (Ann Ewing), Steve Uzzell (Riley Shelton), Pej Vahdat (Nasir Ali)

“Boxed In” is available at DallasTNT.com, Amazon and iTunes. Watch the episode and share your comments below.

Last call

In “Boxed In,” a third-season “Dallas” episode, Harris (Mitch Pileggi) is with Judith (Judith Light) when she receives a call from Luis (Antonio Jaramillo), who is holding Emma (Emma Bell) in the basement of a Mexican “kill house.”

JUDITH: Hello, Luis.

LUIS: I just got a call from one of my men. It seems your trucks have been stopped at the border. Did you not think I was serious about my threat?

JUDITH: This is exactly what I was worried about in the first place. Moving more trucks across the border always meant more risk. I warned you this could happen! But I can fix it, if you’ll just give me a little more time.

LUIS: And I warned you what would happen if you didn’t do exactly as I asked. [Holds the phone in front of Emma, who whimpers] Say hello to your grandma.

EMMA: [Crying, speaking into the phone] I’m sorry, Grandma. This — it’s all my fault. I’m so sorry. [Luis cocks the gun and holds it to her temple. She gasps, cries.] Oh, God. Please don’t do that.

LUIS: [Into the phone] I only need one hostage. At this moment, I have two.

EMMA: Please don’t do this.

The gun fires off-screen. Upstairs in the Mexican house, Ann (Brenda Strong) bolts off the sofa and screams Emma’s name as one of the thugs struggles to hold her down. At the Ryland home, Judith collapses into Harris’s arms.

HARRIS: Damn you. Damn you.

Back at the Mexican house, Emma is alive. Luis fired the gun into the wall.

LUIS: Habla con tu abuela. [Holding the phone up to her face]

EMMA: I’m OK, I’m OK.

Luis flings her onto a mattress on the floor.

LUIS: [Into the phone] I want you to think about the emotion you just felt. And then imagine feeling it every day, for the rest of your life. You have one day to get the trucks moving.

Every outfit on “Dallas” tells a story, and so does every hairstyle. In “Boxed In,” this week’s episode, the characters’ tresses told us a lot about how they were coping with their latest crisis: the kidnapping of Ann and Emma.

Consider Judith, whose unkempt mane symbolized her emotional unraveling. Her hair was almost as wild as it was last year, when she wound up in the hospital after taking that nasty spill down the stairs. I admire Judith Light’s willingness to appear less than perfect on camera, but I also admire how “Dallas’s” brilliant hairstylist, Charles Yusko, uses Judith’s locks to serve the storyline. No matter what the writers give Judith to do, Yusko always manages to create the perfect look for her. One fan said it best the other night during #DallasChat: Judith’s hair has become a character of its own.

My favorite look this week belonged to Julie Gonzalo, who was striking in the scene where Pamela slyly persuades Nasir to loan the Ewings the money they need to buy the divisions of their company being liquidated by the cartel. Gonzalo’s bright red lipstick reflected the power and confidence she brought to this scene, and I love how her hair was pulled back in that no-nonsense ponytail.

In another clever touch, costume designer Rachel Sage Kunin dressed Gonzalo in a smart black-and-white suit — a nod to the black-and-white Stella McCartney dress Pamela wore during her trip Las Vegas earlier in the season. (Meanwhile, Josh Henderson’s hair seemed a little bigger than usual in “Boxed In’s” Las Vegas scene, just like it was during John Ross’s first encounter with Nasir.)

While we’re on this subject: Some of us out here in Fan Land feel like taking the “Dallas” writers to the woodshed after Luis (Antonio Jaramillo) attempted to charm Ann by taking a swipe at Harris. “I don’t see him deserving you,” Luis said. “Perhaps he was more handsome with hair.” Ouch! This is the second consecutive episode in which someone has made a wisecrack about Harris’s hair, or lack thereof. Last week, John Ross referred to him as “that bald bastard.”

C’mon, writers! How about a little sympathy for the follicly challenged members of your cast — and those of us watching at home?

What were your favorite looks in “Boxed In”? Share your thoughts in the comments section below and read more “Dallas Styles.”

Southfork showdown?

Here are the questions we’re pondering as we await tonight’s telecast of “Endgame” and “Brave New World,” the final episodes from “Dallas’s” third season:

Will Bobby rescue Ann and Emma? In the previous episode, “Boxed In,” Bobby (Patrick Duffy) learned about the kidnapping of Ann and Emma (Brenda Strong, Emma Bell) and devised a plan to secure their release. He persuaded his fellow railroad commissioners to approve an emergency drill near the Texas-Mexico border, hoping it will distract law enforcement long enough for the Mendez-Ochoa cartel to bring a train full of drugs into the United States. Bobby went to the Mexican “kill house,” where Ann and Emma are being held, and pitched his plan to Luis (Antonio Jaramillo), who said he’d go along with the scheme. Luis then threw Bobby a curveball, telling him he could take only one hostage home. Will Bobby really be forced to choose?

What will happen when Sue Ellen meets Judith? When Bobby embarked on his plan to bring Ann and Emma home, he received support from Harris and Judith (Mitch Pileggi, Judith Ryland). The publicity photos for tonight’s episodes show the Rylands at Southfork, where it looks like Sue Ellen (Linda Gray) and Judith will finally come face to face. This will probably be a low-key meeting between two understated, unassuming women, don’t you think?

What will happen to Ewing Global? After Pamela (Julie Gonzalo) moved into Elena’s old cottage on Southfork, she agreed to help John Ross (Josh Henderson) do his part to help save Ann and Emma. The estranged spouses went to Las Vegas, where Pamela charmed Nasir (Pej Vahdat), the sheik’s son, and persuaded him to give her and John Ross a huge loan. John Ross and Pamela’s plan: to make the cartel an offer it can’t refuse by buying in one fell swoop all the divisions of the company the gangsters are liquidating, piece by piece. Will the plan work?

Will Christopher rescue Elena? Elena (Jordana Brewster) was stunned when Nicolas (Juan Pablo Di Pace) confessed his connection to the cartel. Later, after Nicolas’s wife Lucia (Angélica Celaya) received the photographs her private eye snapped of Nicolas and Elena at their lakeside hideaway, Lucia agreed to tell Christopher where he’ll find her husband and Christopher’s ex-fiancée. Will Christopher arrive in time to save Elena? And why do the promos for tonight’s episode show Elena wielding a gun?

What brings Tracey back into Bobby’s life? Melinda Clarke, who made her “Dallas” debut a few weeks ago as Tracey McKay, one of Bobby’s ex-flames from the late 1980s, will appear during “Brave New World,” the second of tonight’s back-to-back episodes. Will she turn to Bobby to recover from the death of her nephew Hunter, or could she have something else in mind?

Which Ewing dies — and what’s J.R.’s secret? By now, everyone knows the “Dallas” producers are planning to kill a Ewing tonight. Showrunner Cynthia Cidre told Dallas Decoder the character will indeed be named “Ewing” and that the death will occur near the end of tonight’s finale. So who’ll be the victim? Perhaps equally importantly is this: According to TNT’s preview of the cliffhanger, “John Ross learns a shocking secret about J.R. that sends him halfway around the globe in search of a surprising new cohort.” What’s the secret, and who’s the cohort?

What “Dallas Burning Questions” are on your mind? Share your thoughts in the comments section below and watch TNT’s “Dallas” tonight at 9, Eastern, Mountain and Pacific times, and 8, Central time.

“Dallas” ended its third season with heroes falling and villains rising — and their costumes reflected their changing fortunes.

John Ross (Josh Henderson) went rogue when he headed to Mexico to save Ewing Global and his mistress Emma — not necessarily in that order — and so of course he donned his trusty leather jacket, which has been a symbol of heroism and rebellion on “Dallas” from the original show’s earliest days. Later, when Emma (Emma Bell) stood in the Southfork driveway and delivered a heartfelt apology for all the trouble she caused this year, she wore a plain, no-frills hoodie, an ideal choice for a character baring her soul.

Meanwhile, Sue Ellen ended the season by gazing at J.R.’s portrait and declaring she finally felt free of him. “Hell, I might even find love again,” she told Bobby — and does anyone doubt she’s ready? Costume designer Rachel Sage Kunin dressed Linda Gray in a sexy blue dress, which suggested she’s feeling fun and flirty again now that she’s back on the wagon. Later, Judith (Judith Light) made a dramatic entrance with an outfit to match — a white blouse with a bold design, black skirt and killer earrings.

The most dramatic transformation belonged to Nicolas (Juan Pablo Di Pace), who was revealed in the closing moments of the season as the evil mastermind behind the deaths of El Pozolero, Luis and — sniff, sniff — Christopher. For this scene, Kunin dressed Di Pace in a white suit, which highlighted his dark features. He’s never looked deadlier, has he?

I also love how Nicolas was walking with a cane, the accessory of choice for evil geniuses everywhere. Plop a purring kitten in his lap next season and his supervillain look will be complete.

What were your favorite looks in “Endgame” and “Brave New World”? Share your thoughts in the comments section below and read more “Dallas Styles.”

Give her a hand

Rachel Sage Kunin is standing inside an antique store on the edge of Dallas, carefully examining an ornate ring. “This could work,” she says before handing over her credit card, scribbling her signature on the receipt and dashing back to her car.

It’s early April, and Kunin — the costume designer for TNT’s “Dallas” — is collecting jewelry for the show’s newest character: a woman who happens to be the secret daughter of J.R. Ewing.

In less than 24 hours, the cast and crew will film the scene that introduces the daughter, who’ll only be shown from behind. This is slated to be “Dallas’s” third-season cliffhanger, but after it’s filmed, the producers will decide to save the character’s debut for the following season — only to have TNT pull the rug out from under them by cancelling the show.

Of course, no one knows that right now. On this Tuesday morning, the “Dallas” cast and crew are focused on wrapping up production for the season — which is why Kunin is rushing around town, trying to find J.R.’s daughter’s jewelry before the cameras start rolling tomorrow morning.

But this isn’t anything new for Kunin. In her world, the clock is always ticking.

***

Script to screen

During the 1980s heyday of the prime-time soap operas, costume designers were almost as famous as the stars they dressed. The “Dynasty” cast wore Nolan Miller, while the women of “Dallas” were outfitted by Travilla, the man who put Marilyn Monroe in a white cocktail dress before she stepped onto a subway grate in “The Seven Year Itch.”

The ’80s soaps employed separate costumers for men and women, but Kunin did it all. She created every outfit worn by ever actor in every scene on “Dallas,” including the extras who hovered silently in the background.

Kunin, who grew up watching the original “Dallas” on Friday nights with her family, sees costuming as an essential ingredient in TV storytelling. John Ross’s pinstriped suits helped the audience know he was bold and ambitious; Christopher’s plaid shirts and jeans reflected his all-American, boy-next-door qualities.

After reading a script, Kunin came up with a concept for each character, and then she fitted the actor with the costume she created. Next, Kunin snapped a photo of the costumed actor and emailed it to executive producers Cynthia Cidre and Michael M. Robin, who usually approved her creations but sometimes asked for tweaks.

Kunin occasionally designed outfits herself — the beige, brown and orange dress that Sue Ellen wore in the third-season opener is a Kunin original — but she got most of the cast’s clothing off the rack. After three years on the job, Kunin forged relationships with many of the city’s top retailers, including several who allowed her to borrow clothing and jewelry.

Kunin considers herself a “method costumer,” putting herself in the shoes of each character when choosing their outfits. She would go to Dillard’s department store to buy clothing for Elena, but the wealthier Sue Ellen’s clothes came from upscale retailers like Stanley Korshak.

“I want every character to be as authentic as possible. If the audience doesn’t believe this is how a character would dress, they’re going to have a hard time believing everything else that character does,” Kunin says.

***

Clothes encounters

Each season of “Dallas” was usually filmed in Texas from fall until spring. When the show was in production, Kunin’s days usually began before sunrise and stretched into the night.

On this Tuesday in April, Kunin — dressed in jeans and sneakers, her hair in a ponytail — arrives at the “Dallas” production offices before 6 a.m. She puts the finishing touches on the costumes the actors will wear today, including choosing Bobby’s necktie and Sue Ellen’s earrings for the season’s final corporate showdown at Ewing Global.

Kunin then heads to the antique store, where she buys the ring for J.R.’s daughter. Kunin’s been working on this costume for two days; it’s proving tougher than most because producers haven’t given her a lot of information about the daughter, except that she’s a bit of a free spirit.

Since the character will only be shown from the elbow down, Kunin has nicknamed her “The Hand.” The extra who’ll play the role will have no dialogue, so the jewelry is going to have to do most of the work, cluing the audience into what the woman is like.

Kunin has also collected rings from a strip mall jewelry store, as well as leather bands, bracelets and other pieces from shops around town. She always gathers more than she needs because she never knows when a last-minute script change might require her to come up with a different concept for a character.

“You always want to have options,” Kunin says.

***

Rack of ages

By 12:30 p.m., Kunin is back at the production offices, which are located in an industrial neighborhood in the city. Her desk is crammed into a room shared by the rest of her team, including an assistant who helps shop for clothing and another who manages the department’s budget.

The walls are plastered with call sheets and production memos, as well as random notes like a list of each actor’s shoe size. Scattered about are the real treasures: the clothing racks that hold virtually every costume that has appeared on the TNT series — Sue Ellen’s suits, Harris Ryland’s socks, the leopard skin bra worn by Candace, John Ross’s hot-to-trot secretary.

Around 1:20 p.m., Kevin Page appears inside Kunin’s doorway to be fitted for the trench coat and boots he’ll wear during tomorrow’s big scene, when Bum accompanies John Ross to a foreign locale to meet The Hand. (The scene will be filmed in a nearby restaurant that’s been transformed into an exotic bar, courtesy of the “Dallas” set designers.)

A few minutes later, Kunin returns to her desk to email her snapshots of Page to Cidre and Robin. Her inbox contains bad news from the show’s casting department: The extra who’s been cast as The Hand can’t come in for her fitting until after dinner.

This means Kunin won’t be able to email Cidre and Robin snapshots of The Hand until much later than expected. If Kunin’s concept isn’t what her bosses have in mind, she’ll have to come up with a new look for the character before filming begins early the next day.

In other words: Kunin could be in for a long night.

***

Hair and wardrobe

Rachel Sage Kunin grew up in Malibu. According to family lore, she refused to wear anything that didn’t twirl between the ages of 2 and 6. After attending the Fashion Institute of Design and Merchandising in Los Angeles, she took jobs designing costumes for small feature films, and then landed her first series gig: “Cane,” Cidre’s “Dallas”-esque drama about a sugarcane-raising family in South Florida.

Although Kunin has spent her career behind the scenes, it wouldn’t be hard to imagine her finding success in front of the camera. She’s beautiful and poised, with a dazzling smile. Colleagues describe her as remarkably mellow for someone who works in a pressure cooker.

Yet Kunin is also a notorious perfectionist: Soon after Page’s fitting, the extras who’ll appear in the background of the bar scene begin streaming through the office for their fittings. Although many of them will only appear on screen for a split-second, each one gets the full Kunin treatment.

After placing a hat atop one man’s head, she steps back, studies him and renders her verdict: “No, I’m not buying it.” Back into her clothing pile she goes, looking for something that will fit him better.

Sometime after 3 p.m., Kunin realizes she hasn’t had lunch and scarfs down a plate of food from the craft services table. The protein boost comes in the nick of time, because the rest of the afternoon becomes a whirlwind.

When Kunin isn’t doing more fittings with extras, she’s dying a T-shirt that will be worn by an actor playing a medical examiner.

When she isn’t reviewing her latest retail receipts with her assistant, she’s using a marker to change the “gemstones” on the antique store ring from orange to red.

When she isn’t lugging around a pile of costumes for later in the week, she’s having a pow-wow with hairdresser Charles Yusko, who wants to know how high Judith Light’s collar will pop before he styles the actress’s hair.

Sometime around 5 p.m., there’s a lull. Kunin plops onto her dressing room floor with tomorrow’s script and scribbles some notes in the margins.

It’s the first time she’s sat down in hours.

***

Showdown at Ewing Global

In the early evening, Kunin heads over to the soundstages, which are located next to the production offices. Outside, the building looks like an anonymous warehouse. Inside, it’s a land of make-believe. Here’s the Southfork kitchen. There’s Bobby and Ann’s bedroom. Around the corner is Harris’s den.

Kunin spots Patrick Duffy and Linda Gray, who are standing on their marks inside Ewing Global, getting ready to film a scene. Looking at Duffy, Kunin tilts her head, puts her hand on her hip and furrows her brow.

This is her light-hearted way of asking him why he isn’t wearing Bobby’s jacket. He gets it and explains that his character has probably been in a back room for hours, locked in tough negotiations with a government official over the future of the Ewing empire. Wouldn’t Bobby ditch his jacket under those circumstances?

Kunin isn’t convinced, so Duffy breaks into a comical whine and offers the truth: The studio lights are especially hot today. Gray playfully punches him in the arm and tells him to grow up.

By 7 p.m., Kunin is back at her desk. Yet another round of extras for the bar scene show up for their fittings, and then she receives an email from casting, telling her The Hand will be there soon.

It’s well past 8 when The Hand finally arrives. She’s a young woman, and she seems sweetly nervous. She tells Kunin she has previous experience doing this kind of thing — she once served as a hand double for Ashley Judd — but the only thing she knows about tomorrow’s scene is that she’ll be filmed from the elbow down.

The Hand has no idea how close she is to making “Dallas” history.

Kunin brings out the jewelry she’s collected, sits at her desk and arranges the pieces on the woman’s hands. When she’s satisfied with the look she’s created, she snaps a picture and emails it to Cidre and Robin.

Twenty minutes later, there’s a ping from Kunin’s phone. She picks it up and reads the message. A smile breaks across her face.

“Cynthia loves it!”

***

The Hand (and the other one)

Several months later, after the season finale has aired, Cidre will tell interviewers about the scrapped scene that introduced J.R.’s daughter. She’ll also talk about shooting it again, this time with the actress who would’ve played the role permanently.

In other words: If “Dallas” had been renewed, Kunin would’ve gotten to do this all over again.

Not that she would’ve minded. As Kunin drives off the “Dallas” lot after her long day in April, she talks about how much she enjoys her job — even if it’s not as glamorous as a lot of people assume.

“It’s actually a lot of work,” Kunin says. “But I love it.”

Finale fashions

Here are some of the other looks “Dallas” costume designer Rachel Sage Kunin assembled for the show’s third-season finale:

What are your favorite “Dallas” looks? Share your thoughts below and read more Dallas Decoder features.

Thin line

You’re invited to Dallas Decoder’s next #DallasChat on Twitter, which I’ll hold Monday, December 8, from 9 to 10 p.m. Eastern time.

Our theme will be “Love/Hate.” Now that TNT’s “Dallas” has ended, we’ll reflect on the things we loved about the new series, along with the stuff we weren’t crazy about.

If you have ideas for questions, leave them in the comments section below, tweet them to me @DallasDecoder or post them to my Facebook page. I may choose one or more questions and ask them during our discussion.

Are you new to #DallasChat? Here’s how it works: For one hour, I tweet 10 questions to my fellow “Dallas” fans. Each question is numbered and includes the hashtag #DallasChat, so your responses should include the answer number and the hashtag.

Here’s a sample exchange:

Q1. Which relationship on “Dallas” was your favorite? #DallasChat

A1. Definitely Harris and Judith’s. Did they love or hate each other? I could never figure it out. #DallasChat

Here are two tips:

• During the discussion, enter #DallasChat in Twitter’s search field. This will help you watch the search results so you can follow the conversation. Click “All” to see all the related tweets.

• Be sure to include #DallasChat in your tweets. This allows the other participants to see your contributions to the conversation.

This will be another fun #DallasChat. I hope to see you there!

“Dallas’s” third and final season was a thrill ride, even if our beloved Larry Hagman wasn’t around to take the trip with us. Here’s a look back at the highs and lows.

Performances

Rising son

Josh Henderson was a revelation this year. As John Ross struggled to follow J.R.’s boot steps, he kept getting sidetracked by his own demons — and Henderson was outstanding at every turn. His performances were sometimes sly, sometimes sensitive and always superb. I was less enthralled with the other “J.R.”: Judith Ryland, a.k.a. Judith Light, who was moving during the hostage crisis but cartoonish most of the rest of the time (“Let’s go make us a drug deal.”).

Storylines

Ewing Global’s rocky road to its initial public offering was a modern take on classic “Dallas” wheeling and dealing. It included the dramatic boardroom showdown where Sue Ellen voted against John Ross’s plan; John Ross and Pamela’s trip to Las Vegas, where he gambled away J.R.’s wristwatch to prove his mettle to the sheik; and finally the frenzied day of the IPO, when Hunter McKay swooped in and turned the tables on John Ross — much like Hunter’s granddaddy Carter once did to J.R. Even Wolf Blitzer showed up to report on the Ewings’ doings. The worst storyline? Nope, not the drug cartel, which ended up being better than expected, but all the silliness involving the brothel, including the eye-rolling revelation that Judith is a madam.

Episodes

Direct hit

The achingly poignant “Hurt,” written by Aaron Allen and directed by Patrick Duffy, dared to challenge the audience to stop sentimentalizing J.R. This was an actors’ episode, beginning with the theatrical scene where Elena exposed Bobby’s scheme to frame Cliff. No whiplash-inducing plot twists here; just solid Ewing family drama. There was also a lot to like about the “Lifting the Veil” wedding episode. Unfortunately, much of it was cut to make room for those bonkers brothel scenes.

Scenes

John Ross and Sue Ellen’s kitchen confrontation was the season’s emotional high point. It began with her standing at the counter, sloshing a drink, no longer denying her fall from the wagon. Into the room stormed John Ross, furious over his mother’s boardroom betrayal and still very much in denial about his addiction to power. The chills-inducing climax: He slams down his hand and screams, “I am not my father!” Maybe not, but this scene showed Henderson could light up our screens just like Hagman. Best scene runner-up: The unbearably tense moment when Ann, Harris and Judith hear Luis fire a shot after holding a gun to Emma’s head. The worst scene involved a corrupt politician, a hooker and a dog costume. Need I say more?

Twists

Bug off

Sue Ellen gives a bottle of J.R. Ewing Bourbon to Governor McConaughey (Steven Weber, who was always a welcome guest on this show), but the smug jerk refuses to help her stop John Ross’s Southfork drilling scheme. Later, the guv pours from the bottle while plotting with a corrupt crony to cover up a scandal — unaware that Sue Ellen and Bobby are in a van outside, recording their conversation. How? Because Sue Ellen bugged the bottle! Oh, how I wish Linda Gray had been given more scenes like this.

Cliffhangers

Worst first: Christopher’s death. Jesse Metcalfe’s alter ego went out like a chump by protecting Elena, an increasingly exasperating character who brought Nicolas and the drug cartel into the Ewings’ lives and threatened to send Bobby to prison. (Jordana Brewster, however, was fantastic when Elena saw the car blow up.) I have no doubt Christopher’s murder would’ve opened dramatic new storylines for the show, but since we’ve been denied a fourth season, I can’t help but feel like a “Dallas” legacy character was killed off for no good reason. The best cliffhanger: The doomed three-way between John Ross, Pamela and Emma was sexy and provocative, although the resolution — learning Pamela overdosed to teach her cheating husband and his mistress a lesson — was bananas.

Villains

Guess who?

Mitch Pileggi has always been one of “Dallas’s” best actors, but his performances this year were more complex than ever. Was Harris really working for the CIA, or was he merely out to get Judith? Did he mean it when he told Ann he loved her, or was he just messing with her head? Pileggi kept us guessing all season long — just like a certain Machiavellian character from an earlier era of “Dallas.” Runner-up: Emma Bell’s Emma, who had me throwing things at my TV one moment and reaching for the Kleenex the next.

Supporting Players

Here we have an embarrassment of riches. I loved Antonio Jaramillo, who was frightening and fascinating as cartel general Luis; Kevin Page, who turned sweet-natured Bum into John Ross’s unlikely conscience; and Donny Boaz, who made down-on-his-luck ranch hand Bo McCabe the closest thing this show had to a modern version of Ray Krebbs. But no performance touched me like Marlene Forte, who was heartbreaking in “Dead Reckoning,” the haunting episode in which Carmen learned Drew was dead. Honorable mention: Cynthia Jackson, who played Nurse Harlan, the no-nonsense nightingale who tangled with John Ross in the hospital (“Plant your ass over there in those seats before I plant it for you”).

Newcomers

Killer smile

Juan Pablo Di Pace was sinister and seductive as Nicolas Treviño, who changed the Ewings’ lives forever the day he waltzed into their boardroom and declared himself Cliff’s proxy. Now that he has Christopher’s blood on his hands, Nicolas will be remembered as the Ewings’ most dangerous foe since Katherine ran over Bobby. Honorable mention: AnnaLynne McCord, whose Heather McCabe — a working-class single mom who wanted to do right by her son — was refreshingly free of secret identities and hidden agendas.

Returning Favorites

Two “Dallas” vets earn a spot in the “best” column: Audrey Landers, who was a hoot when Afton showed up at John Ross and Pamela’s wedding, smacked the groom upside his head and sparred with Sue Ellen; and Ken Kercheval, who was downright tragic in the scene where Pamela refused to get Cliff out of jail. You could always count on Landers and Kercheval to make the most of their “Dallas” guest spots; what a shame they never had a scene together. My other old favorite: the return of “Dallas’s” retro-style split-screen opening credits. What took so long?

Costumes

Stylin’

Highlighting just one of costume designer Rachel Sage Kunin’s creations is tough, but if forced to choose, I’ll go with Pamela’s black-and-white dress, which looked striking on Julie Gonazalo. The dress also highlighted the link between Pamela and Sue Ellen, who wore a lot of black and white on the original show. No costume deserves a spot in the “worst” column, although now that I know how much effort went into choosing the jewelry for J.R.’s daughter’s debut, I sure wish that scene hadn’t been left on the cutting room floor.

Music

Johnny Cash returned to “Dallas” for the first time since Season 1 with his cover of Nine Inch Nails’ “Hurt,” which played during the powerful sequence where Bobby destroys his den after J.R.’s masterpiece unravels. Can you watch this scene without getting chills? Other highlights: Ed Sheeran’s “Kiss Me,” which was heard when John Ross and Pamela were making love on their honeymoon while lonely Emma was crying herself to sleep; The Doors’ “Break On Through,” an ideal choice for the diaphragm puncturing/threeway/Southfork fire montage; and Eric Church’s “Devil, Devil,” the song that played when Nicolas’s henchman killed Luis and El Pozolero. And who didn’t love Henderson’s “I See You” during John Ross’s breakdown in the elevator during the season finale?

Props

Good to the last drop

Best: The J.R. Ewing Bourbon bottles, which popped up throughout the season, including the last scene, when John Ross toasts his dearly departed daddy in the back of the limousine. I also got a kick out of seeing Henderson sport replicas of some of Hagman’s signature accessories, even if it looked like that J.R. belt buckle was wearing John Ross instead of the other way around. My least favorite prop: Candace’s severed hands. Good grief. Were those things purchased in the Halloween aisle at Kmart?

Quips

It’s always tough to choose a favorite in this category, and this year is no exception. Contenders include Judith’s J.R.-like analogy (“Money and morality are like two cars on a one-lane road. When they meet, morality’s going to end up in the ditch.”), John Ross’s apt description of his family (“We’re slow, but we do figure things out.”), and Sue Ellen’s memorable put-down of a longtime rival (“Just so you know, Afton, the most despicable thing J.R. ever did was you.”). But nothing tops Miss Texas’s memorable schooling of Emma at the wedding: “Has anyone ever told you about my sister Kristin? She was a lot like you. She ended up face down in the pool.” It’s a shame this line was cut from the episode, but at least TNT had the good sense to turn it into a promo.

Hashtags

#ChristopherRIP

If you didn’t watch “Dallas” while simultaneously tweeting about it, you missed half the fun. The year in hashtags: #Aftershave #BeachBoys #BeMyProxyNicolas #CafeConLechePorFavor #DefineTheRelationship #GoFrackYourself #GoodBlackmailNeverSours #GraspingSuccubus #IceBreakingShips #JusticeNotRevenge #LesserPrairieChicken #MamaLike #MillerLight #MobyDick #Mole #Pozole #SeismicSuperstar #Sprinkles #StupidPills #Supermajority #SurfaceRights #WhoWoreItBetter #WhichEwingDies #YouSmellLikeMyWife #RenewDallasTNT #SaveDallas #DallasForever

What did you love and loathe about the third season of TNT’s “Dallas”? Share your comments below and read more “Best & Worst” reviews.

The holidays are here and you know what that means: It’s time for another “Dallas Desserts” bakeoff.

This year, we’re pitting Judith’s Mole Cookies against Sue Ellen’s Peanut Butter Blossoms. Both recipes come from my husband Andrew, who blogs at Cook In/Dine Out and who also created the popular “Dallas Drinks” cocktails.

Whose cookie do you prefer? And how does this year’s competition compare to our previous bakeoffs — J.R.’s Bourbon Balls vs. Cliff’s Fortune Cookies (2012) and Bobby’s Molasses Sandwiches vs. Harris’s Almond Lace Cookies (2013)?

Share your thoughts in the comments section below. Happy holidays!

What does the new year hold for “Dallas” fans? Your guesses are as good as mine, but one thing is certain: Just because our favorite show isn’t returning in 2015 doesn’t mean we have nothing to look forward to. Here’s what Dallas Decoder’s crystal ball shows. What about yours?

IN | OUT

In: Cameos

Out: Chiefs

Guesting | Starring

Celebrating | Mourning

Hardcore fandom |
Casual viewing

Deleted scenes | New episodes

Dreaming up your own resolutions | Limbo

In: Saviors

Out: Sinners

Have mercy, Jesus! |
Have mercy, Nicolas!

Live chatting | Live tweeting

Gratitude | Griping

Wands | Flasks

Cheap gas from everyone |
Cheap gas from the Ewings

In: Mothers

Out: Madams

More Shelly, please |
Less Judith, please

Ooh, what’s Jane wearing? |
Ooh, what’s Elena wearing?

Bust | Boom

#JRForever | #FarewellJR

“Next year in Dallas!” |
“Next year in Cuba!”

 Now it’s your turn. Share your ins and outs for 2015 in the comments section below and read more Dal-Lists.

“Dallas” has given us lots of great villainesses over the years. Time to choose your favorite!

Linda Gray

Linda Gray has spent the past six months playing four roles on two continents.

The iconic “Dallas” star appeared in a London stage production of “Cinderella” during the holidays, then came home to California to film a cable movie, an independent feature film and a new online soap opera.

She also wrote a book.

Hey, you weren’t expecting to Sue Ellen Ewing’s alter ego to slow down, were you?

“It’s been fabulous,” Gray told Dallas Decoder last week. “I feel very fortunate because I got to have all these different experiences, one right after another.”

Gray’s fans will begin to see the results of her busy schedule on June 20, when her Hallmark Channel movie, “Perfect Match,” debuts. She plays Gabby, the mother of the groom in a story about dueling wedding planners who fall in love.

Gray describes the movie as “very Hallmark-y,” right down to the happy ending.

In other words: Don’t tune in expecting to see a Southfork-style wedding.

“No, not at all,” she said with a laugh. “Nobody gets dunked in the pool.”

Gray donned heavy makeup for her role as an eccentric, elderly matron in the feature “Wally’s Will,” which will be shown at film festivals this year.

She also plays Joanna, the matriarch of a wealthy candy-making family, in the online soap opera “Winterthorne,” debuting August 27.

“She’s weird and wonderful. She wears all these feathers,” Gray said. “It’s one appearance, but I would say she’s an important character.”

The Write Stuff

“A Perfect Match”

Gray’s most intriguing project might be her memoir, “The Road to Happiness is Always Under Construction,” which will be published September 8.

She began writing the book while working in London last year. In between performances, she Skyped with her editor in New York City and wrote a chapter at a time, dashing off drafts via email.

The book will cover her experiences as a mother and grandmother, as well as her career. She writes about playing Sue Ellen on both incarnations of “Dallas,” as well as her longtime friendships with co-stars Larry Hagman and Patrick Duffy.

Gray promises lots of candor. She doesn’t want to give too much away, but the book will include her experiences working with the original show’s executive producer, Leonard Katzman, who she said wasn’t always nice to her.

She also writes about a scene she felt Sue Ellen should never have been part of, along with other behind-the-scenes revelations that are bound to fascinate “Dallas” diehards.

“I wanted to write about the good and the not-so-good,” Gray said. “I don’t write anything mean or dismissive — I just share what I’ve learned. Everyone may not like it, but I can’t worry about that. As I get older, I find that the things that used to worry me don’t worry me anymore.”

‘The Trampoline Effect’

“Wally’s Will”

One passage in the memoir will detail what Gray calls “the Trampoline Effect,” a period last year marked by high points, like her return to the London stage in “Cinderella,” and low moments, including the death of her beloved cat and “Dallas’s” cancellation.

She also writes about the fan-driven #SaveDallas campaign to rescue the series, which she found inspiring.

“I still believe we should have been given another season — even if it was something like eight episodes,” Gray said. “They could have billed it as the end of ‘Dallas.’ The fans invested so much in the series. They don’t deserve to be kept hanging.”

The cancellation was “like breaking up a family,” Gray said. She stays in touch with friends from the show, including Jordana Brewster, Julie Gonzalo and costume designer Rachel Sage Kunin, who all got together with Gray for lunch recently.

“Everyone is moving on, but we all miss working together,” she said.

Above all, Gray misses Sue Ellen.

“I always say she was the most interesting woman on television in the ’80s. I had to wait 20 years to play her again, and then I got her back and they took her away from me,” Gray said.

Although the “Dallas” writers penned several fourth-season scripts before TNT pulled the plug, Gray doesn’t know what was planned for Sue Ellen. She suspects the newly sober heroine was going to throw herself into her career and clash with her estranged son, John Ross (Josh Henderson), and his new ally Judith Ryland (Judith Light).

“I think we would have seen Sue Ellen and Judith go at it, which would have been such fun,” she said.

Gray believes “Dallas” remains a viable brand with worldwide appeal, although she doesn’t expect the series to return anytime soon.

“I never say never,” she said. “If it happens, it happens and that would be wonderful. I just don’t want to have to wait another 20 years to play Sue Ellen.”

Are you looking forward to Linda Gray’s new projects? Share your comments below and read more news from Dallas Decoder.

Josh Henderson in August (Getty Images)

The final episode of TNT’s “Dallas” aired one year ago today. Here’s an update on the show’s stars and key players from behind the scenes.

JOSH HENDERSON has been cast as the male lead in “The Arrangement,” an eagerly anticipated E! pilot about an actress who is offered $10 million to marry Hollywood’s biggest star. Filming began this month in Vancouver.

Patrick Duffy in June (Getty Images)

PATRICK DUFFY will appear in “Trafficked,” a forthcoming feature film based on the best-selling book “Sex Trafficking: Inside the Business of Modern Slavery.” Duffy also led the TV series jury at the prestigious Monte Carlo Television Festival, and he guest starred on NBC’s “Welcome to Sweden” and ABC Family’s “The Fosters.”

LINDA GRAY published her memoirs, “The Road to Happiness is Always Under Construction,” guest starred on CW’s “Significant Mother” and appeared in the Hallmark Channel movie “Perfect Match.” She also stars in “Wally’s Will,” an independent short slated to play at film festivals.

JESSE METCALFE will be seen in “God’s Not Dead 2,” a Christian-themed film now in production. He also appeared in Hallmark Channel’s “A Country Wedding,” which drew big numbers in June, and the online flick “Dead Rising: Watchtower.”

JORDANA BREWSTER reprised her role as Mia in the latest “Fast and Furious” flick, “Furious 7,” which has grossed $1.5 billion since its release in April. Next up: Brewster will appear alongside John Travolta and Cuba Gooding Jr. in FX’s “American Crime Story,” a 2016 series about the O.J. Simpson trial, and then she’ll star in the second season of the ABC crime drama “Secrets and Lies.”

JULIE GONZALO has roles in two forthcoming films: “Waffle Street,” which stars Danny Glover, and the romantic comedy “The List.” She also stars in the independent film “I Did Not Forget You,” produced by Brenda Strong.

Brenda Strong in July (Hallmark Channel)

BRENDA STRONG has joined the cast of “The 100,” a CW fantasy series that will return for its third season next year. The newly married Strong also co-stars in “Ice Sculpture Christmas,” a Hallmark Channel holiday movie.

MITCH PILEGGI will reprise his role as Walter Skinner in Fox’s six-episode “The X-Files” revival, slated to debut January 24. He also can be seen in the film “The Girl in the Photographs,” and he did a guest stint on CBS’s “Blue Bloods.”

EMMA BELL has been cast as the young Emily Dickinson in “A Quiet Passion,” a film starring Cynthia Nixon as the adult poet. Bell also stars in the short film “BYoutiful” and has roles in two other projects, “The Good Ones” and “See You in Valhalla.”

JUDITH LIGHT plays a grandmother in the recent release “Digging for Fire,” starring Orlando Bloom. She’ll also continue to be seen in Amazon’s Emmy-winning series “Transparent,” which will begin its second season December 4.

JUAN PABLO DI PACE played Jesus in NBC’s “A.D. The Bible Continues,” which aired in the spring. Di Pace will next be seen in the feature film “After the Reality” starring Matthew Morrison and Jane Lynch.

KEVIN PAGE has opened a gallery in Dallas to showcase artworks created through three-dimensional printing. His website is http://kevinpage3d.com/.

CYNTHIA CIDRE (Executive producer) is now an executive producer of ABC’s “Dallas”-esque drama “Blood and Oil,” which debuts September 27.

RODNEY CHARTERS (Cinematographer) is shooting director Zach Braff’s feature film “Going in Style,” which stars Morgan Freeman, Michael Caine and Alan Arkin as three retirees who plan a bank heist.

RACHEL SAGE KUNIN (Costume designer) has brought her talents to CW’s “Jane the Virgin,” which will begin its second season October 12.

CHARLES YUSKO (Hair stylist) is now hair department head for “From Dusk Till Dawn,” a series on the El Ray channel.

Which projects from the “Dallas” cast and crew are you looking forward to? Share your comments below and read more news from Dallas Decoder.