All episodes Season 13 S13E26 1990-05-04 60 min 1980s CBS

Dallas

Three, Three, Three (1)

TV Flash files “Three, Three, Three (1)” as hour 333 of 356 in the TV Flash guide — Dallas (1978–1991) on CBS, season 13, episode 26, aired 1990-05-04, 60 min.

From the desk

How this hour is filed

This leaf is S13E26: listed hour 333 of 356 in the Dallas guide, hour 26 of 27 in season 13. It aired 1990-05-04 (60 min). The listed hour before it is “The Southfork Wedding Jinx” (S13E25). Next is “Three, Three, Three (2)” (S13E27).

Dallas — Three, Three, Three (1) (S13E26)

Catalog log

Broadcast listing — not a TV Flash recap.

J.R,. after having secretly committed himself to an insane asylum in an effort to coerce Jessica into signing over to him her shares of Weststar stock, discovers the path to her is littered with bizarre and dangerous patients. Cliff continues to get close to Liz Adams, but when she meets Carter McKay, she thinks she's met him before. James and Cally continue their plans to get even with J.R., who is finding himself stalked by a lady in the asylum with designs on his body.

Viewer FAQ

Where does Three, Three, Three (1) sit in the Dallas guide?

S13E26 is listed hour 333 of 356 — hour 26 of 27 in season 13, season 13 episode 26.

When did Dallas S13E26 air?

Three, Three, Three (1) aired 1990-05-04 and is listed at 60 minutes.

Where should I start — the miniseries or the shooting?

Start with Digger’s Daughter so the table has names, then the first barbecue, then the 1980 cliffhanger and its answer. You can sample the dream-season aftershock without fourteen seasons of leases.

In the series

Why this series still plays

Watch it to see spoiler culture get invented in public: a Texas oil table, a villain America loved, and a summer-long question that made appointment TV feel like a crime scene. The dream season is the delete that still starts fights.

The shot was not the story. The summer was the story. March 1980, CBS, J.R. Ewing on the floor of an office, and then months of a country asking a question like it was a relationship status. Who shot J.R.? was not a plot point. It was a premiere-night soft launch of event television: every magazine cover a red carpet, every barstool a group chat, every publicist pretending the secret could hold. Larry Hagman made villainy photograph as charm. If you only watched the official stills — the hat, the oil, the ranch —…

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