More thanks to @Toni for retrieving these old posts. Opinons are (not necessarily) my own (anymore). "The Road Back" This does an excellent job of picking up the pieces left at the end of Season 5. The scenes between the Ewing boys are particularly strong. "I can remember a time when he wouldn't walk in this house without first asking permission," says JR of Ray. "None of us have clean hands boys, none of us," he later reminds his brothers. Barbara Bel Geddes' absence is well handled (although quite what Clayton and Miss Ellie are doing at the Takapa resort beats me--there shouldn't even be a Takapa resort), and while it's always a shame when Sue Ellen stops drinking, the beginning of the Cliff/Pam/Mark era means a whole new relaxed Victoria Principal. Everything suddenly looks brighter and prettier, particularly Pam's dingy hotel suite. Director of Photography Bradford May brings a rich, cinematic feel to the show--lots of off centre midshots and imaginative lighting. "The Long Goodbye" Evocative title, and it seems to refer to almost every storyline, as the characters slowly find themselves unable to escape the consequences of the events of Season 5--Mickey waking from his coma, only to realise he'll never walk again (such good acting, with Donna looking on helplessly at Ray, who looks on helplessly at Mickey); Bobby and Pam drawing closer, only for their divorce to feel more inevitable than ever by the end of the episode (that chilling scene as JR circles Pam in her hotel suite), Sue Ellen agreeing to return to Southfork with JR, but under conditions that mean they are more estranged than ever ("Your sex life is your affair from now on. Oh, I realise it won't be as much fun anymore because you won't be cheating one me, but that's your problem." "You'll pay for this, Sue Ellen." "I already have."). "The Letter" Several examples of characters putting on a brave face in this episode: Ray, Donna and Bobby joking and laughing at the Fort Worth cattle auction, only for the sequence to ends with an anguished looking Ray on the phone to the hospital. "It's like he's quietly falling apart," Donna tells Bobby as they watch from a distance. Then at the hospital, Mickey wisecracks with Lil and Lucy, ("If you like the side you've been talking to, I guarantee you'll love the flipside!") but once he's alone, his eyes well up. And of course the final scene, beautifully scored and photographed, of Bobby and Pam's meeting in Thanksgiving Square. Pam, after an episode of wide-eyed kewpie doll indecision (not helped by her Tufty the Squirrel hairdo), reclaims the fighting spirit she had at the very beginning of the series, declaring that she and Bobby "have a love that's strong enough" to withstand anything JR or Southfork can throw at it. Bobby, however, in act of misguided sacrifice, tells her that that time has past, that it's "just yesterday's memories", and that he's letting her go. Pam is dumbstruck, and Bobby's eyes fill with tears as he watches her walk away (her sad little walk down the steps). Elsewhere, Peter Richards makes his debut appearance, boinging up and down on old trampoline, appropriately enough. "My Brother's Keeper" So JR spends the night with Serena, but nothing happens, the implication being that now he has "permission" to cheat on Sue Ellen, he can't get it up. Interesting that the times he can do it this season are with Sue Ellen, when she takes him by surprise, and Katherine, when he has the satisfaction of knowing she's doing it against her will. Gorgeous looking episode--Pam lit so beautifully in the scene where she and Bobby listen while their attorneys to discuss the divorce, the scene in Mark's chariot where she and Afton get all giggly and lightheaded after a night on the town, the scene between Lil and Ray where she's beating a carpet outside his house ... Great scenes and acting from Steve Kanaly, Timothy Patrick Murphy, Susan Howard, and even Charlene Tilton's not bad, as Mickey's story nears its end. Donna bumps into old admirer Paul Morgan in the exact same spot where she first met Cliff Barnes three years earlier. John Ross has his first session with speedo clad Peter, who teaches him everything he needs to know about swimming and dressing to the left. "You don't seem shy," observes Sue Ellen, as Peter practically waves his meat and two veg in her face. Nice little moments: Anita Smithfield looking all blonde and hookerish, Afton rolling her eyes as Katherine talks about how exhausted she is, Pam flinching in the divorce court as her lawyer tells her, "It's all over, Pam." "The Quality of Mercy" Following their divorce, Bobby and Pam are in very different places. Bob's spending his evenings in all night burger joints ("just so I could be near people!" he sobs to Phyllis, who can't even boil water), his afternoons watching kids' matinees (did he see Peter Richards there? We'll probably never know), his weekends in the office (what is with the Season 6 habit of showing what the Ewings get up to on the weekends?) and his lunchtimes with his ex-wife's sister (and future assassin). Meanwhile Pam's all about the future: moving into Rebecca's house, partying with close friends who we've never seen before and will never see again, and accepting a job at Barnes-Wentworth. Also in this episode, it's the beginning of the Cliff and Sly era, the return of Jackie, and the start of Sue Ellen and Lucy's not very convincing friendship, borne out of dramatic convenience as they're the only two women still living at Southfork. (Lucy suddenly and eagerly chumming up with someone whom she has been so rightly wary of for over ten years just makes her look like a dummy.) And the main story: Mickey's tragic relapse and the what-the-hell-is-going-on? final scene, ending with Steve Kanaly's first ever freeze frame.