'Dallas' star says TV 'cougar' Linda Gray's prank during controversial kiss left his lips numb
The actor played camp counselor Peter Richards, the much younger lover of Gray's Sue Ellen Ewing on the hit TV series "Dallas" from 1983 to 1984. The now 64-year-old, an aspiring filmmaker, is currently fundraising for an upcoming project.
"They put me and Linda together, and she was the very first cougar," Atkins told Fox News Digital. "Our very first kissing scene, which solidified this moment between the two of us, was on a dock at this place on a lake. And everybody's standing there watching. Usually, everybody goes home after their scenes… They say, 'Action,' and we had our moment. We do have our big kiss, we pull apart and they cut."
"Linda says to me, 'So how was it?'" he recalled. "I'm thinking, 'What am I supposed to say to that? Oh, it was terrible, let's do it again? What do you say?' I said, 'Yeah, it was good.' And then all of a sudden, my lips go completely numb. She, as a joke, had put on her lips all that… stuff that they numb your gums with before the dentist gives you the needle. Put it all over her lips and gave me this kiss."
"That was my introduction to 'Dallas,'" he chuckled.
The steamy TV romance made headlines in its day. Sue Ellen, who was married to philandering oil tycoon J.R. Ewing (played by Larry Hagman), was depicted sneaking about with her boy toy, USA Today reported. Atkins, 22, and Gray, 43, famously made the cover of US magazine with the headline, "Robbing the Cradle."
"I'll never forget, I was walking… at a hotel, and this lady, you could see her, she's staring at me," he said. "This woman starts coming straight at me, comes right up [to] my face and says, 'You're too young for her!' This is what it was. And it was robbing the cradle."
Atkins described the cast of "Dallas" as pranksters — and no one left the studio unscathed.
"They were all practical jokers," he said. "They were all crazy. They were just fun and nuts."
As part of his sex symbol role, "Dallas" producers made him wear tiny swim trunks.
"I got a note from the network saying to quit stuffing my Speedo," Atkins chuckled. "I was thinking, what the heck is that? I mean, it's sort of a backhanded compliment… I think Larry Hagman or somebody was just [pranking me] because they put me in a Speedo for the show. They didn't have to, but that's what they did. So I think the note came as more of a joke."
By then, Atkins had already stripped down for his first movie, 1980's "The Blue Lagoon." He was 18 and his co-star, Brooke Shields, was 14.
WATCH: CHRISTOPHER ATKINS LOOKS BACK AT 'THE BLUE LAGOON' AND 'DALLAS'
Shields and the film's crew have long maintained that she used body doubles for nude scenes and that her hair was glued on to her body to avoid exposing her chest, People magazine reported.
Atkins auditioned for the role in hopes of simply getting bragging rights that he read for a major film. He ended up being chosen from among 4,000 hopefuls.
"I kept getting called back," said Atkins. "The last one was with Julie Warner, who was in 'Doc Hollywood' with Michael J. Fox years later. She would've gotten the part if Brooke didn't. I knew the director wanted Brooke Shields, but I didn't know that much about her at the time."
"I lived on [a] boat off the island [where we were filming]… she hadn't come yet," he said. "She had another week or so before she was going to get here. The director had put her picture up over my bed so that I could start falling in love with her before the movie started. That was my introduction to Brooke Shields."
While the film was controversial for depicting the two young characters in a sexual relationship, it wasn't the first time that Shields raised eyebrows. People magazine reported that two years earlier, she starred in "Pretty Baby", where she played a 12-year-old prostitute.
"The crew were all Australian," said Atkins. "Back in the day, all the Australian beaches… were topless. It was very natural and freeing for the Australians… And being on a deserted island, there were no tourists, nothing. It was just us on this island… [And] these two kids, in a natural [and deserted] environment, they wouldn't wear clothes. It wouldn't be something that was in the forefront of their minds, that they needed to cover up."
"As time went on, it just became more and more natural not to have clothes on," said Atkins. "The crew made it very, very easy. Randall [Kleiser], the director, made it very, very easy about it. [The scenes] were absolutely important for the film, but it wasn't grandiose. It wasn't something that was there for the exhibition of the film. He really wanted this to be as natural and as real as possible. I understood that and got that."
"By the time I was done leaving that island four and a half months later, it [was] really hard for me to keep my clothes on at a beach," he joked.
People magazine noted that critics loathed the film. However, it was nominated for an Academy Award for best cinematography. The outlet reported that the film raked in more than $58 million, making it the ninth-highest-grossing film of 1980.
Looking back at his Hollywood career, Atkins insisted there are no regrets.
"I got to a point in my life where I married young," he said. "I wanted to be a dad more than chase the business… When I was 16 years old, I used to teach sailing in Rye, New York, to little kids. From that measly paycheck that I was getting, I used to put a dollar away for someday when I had kids. That's how badly I wanted kids. When I had my two kids, I just did whatever came my way, just to put food on the table for them and keep working."
"I've been blessed," he reflected. "I've done over 100 different movies and television shows at this point. Now my kids have their kids, and that's pretty remarkable… I've done everything in this business except make my own film. That's the last box I now want to check off… That's what I'm chasing right now, putting some really good projects together… So there are no regrets."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
USA Today
2 hours ago
- USA Today
Donald Trump says Beyoncé should be 'prosecuted' for alleged Harris endorsement payment
Donald Trump still has a political bone to pick with Queen Bey. The president, who has previously voiced criticism of celebrities who showed support for his election counterpart, Kamala Harris, took to social media on Saturday, July 26, to renew his unfounded claim that pop star Beyoncé was allegedly paid $11 million to endorse Harris' presidential bid. In the lead-up to the 2024 presidential election, the "Cowboy Carter" songstress made her endorsement of Harris official when she appeared at the former vice president's abortion rights rally in her hometown of Houston in October. She also cleared the usage of her 2016 song "Freedom" for Harris, and the tune became the Democratic nominee's official campaign song. "I'm looking at the large amount of money owed by the Democrats after the presidential election and the fact that they admit to paying, probably illegally, $11 million dollars to singer Beyoncé for an ENDORSEMENT (she never sang, not one note...)," wrote Trump in a fiery Truth Social post, also citing alleged endorsement payments to media mogul Oprah Winfrey and civil rights activist Al Sharpton. USA TODAY has reached out to a representative for Beyoncé for comment. "Can you imagine what would happen if politicians started paying for people to endorse them. All hell would break out!" Trump concluded. "Kamala and all of those that received endorsement money BROKE THE LAW. They should all be prosecuted! Thank you for your attention to this matter." Trump's digital tirade comes just two months after he accused the Grammy-winning singer and other celebrities of being paid to publicly support Harris' candidacy. In a May Truth Social post, the GOP president announced plans for a "major investigation" into the Harris campaign's celebrity endorsements. Catch up: Trump calls Beyoncé's endorsement of Kamala Harris 'illegal' Did Beyoncé receive payment for Kamala Harris endorsement? At the time of Trump's original allegations in May, the Federal Election Commission had no record of an $11 million payment to Beyoncé from Harris' presidential campaign. Additionally, the agency does not have rules explicitly prohibiting candidates from paying for endorsements. It is unclear where Trump got the unsubstantiated $11 million figure. The Harris campaign last year rejected a rumor that it paid Beyoncé $10 million for her endorsement that spread on social media shortly after the music star's October 2024 appearance with Harris. Beyoncé's mother, Tina Knowles, also pushed back at the $10 million rumor in a November 2024 Instagram post, calling it "false information" and a "lie." She added that the singer "actually paid for her own flights for her and her team." Oprah Winfrey says she was not paid a 'personal fee' for Kamala Harris rally What has Beyoncé said about Kamala Harris campaign? During her October 2024 appearance at Harris' rally, Beyoncé, who was joined by fellow singer and Destiny's Child alum Kelly Rowland, said "It's time for America to sing a new song" when describing Harris' presidential bid. "I'm not here as a celebrity. I'm not here as a politician. I'm here as a mother," the pop star added. "Your freedom is your God-given right, your human right." Harris has long been a fan of Beyoncé. The California-born politician attended the singer's Renaissance World Tour in 2023 just outside of Washington, D.C., after she gifted Harris tickets. Contributing: Caché McClay, Joey Garrison and Swapna Venugopal Ramaswamy, USA TODAY
USA Today
5 hours ago
- USA Today
At his first Comic-Con, George Lucas previews Lucas Museum of Narrative Art
SAN DIEGO – George Lucas has amassed 50 years of cool stuff, and now he's going to have a place to put it. Even better, you can see it, too. Original sketches, paintings and assorted illustrations from the 'Star Wars' creator's personal collection – plus quite a bit representing that galaxy far, far away − will be on display at the new Lucas Museum of Narrative Art. The building is under construction in Los Angeles' Exposition Park, will open in 2026, and is dedicated to 'cultural fantasy,' Lucas said. The Hollywood icon was joined on Sunday, July 27, at a Comic-Con panel about the museum by 'Star Wars' illustrator and production designer Doug Chiang, Oscar-winning filmmaker Guillermo del Toro, and moderator Queen Latifah. It was Lucas' first time at Comic-Con in his legendary career, earning a standing ovation from the 6,500 faithful in Hall H. But instead of waxing nostalgic about "Star Wars" and his movies, Lucas previewed the creation of his passion project. Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox A video narrated by Samuel L. Jackson took the crowd on a tour of what will be in the space, from an exhibit on myths through the ages to displays featuring artists like Norman Rockwell, Frank Frazetta, Jack Kirby and R. Crumb. Some of the works in the museum include the first Flash Gordon character drawing from 1934 ('You can see all the smudges,' Latifah noted), original 'Peanuts' sketches from the 1950s and '60s, and an original drawing of the 'Iron Man' No. 1 cover from 1968. 'Star Wars' fans will find plenty to love, too, including actual vehicles like a Naboo starfighter from Lucas' prequel movies and speeder bikes from 'Return of the Jedi.' And here's another fun fact: The museum architecture contains no right angles, only curves. Lucas, 81, has collected 40,000 pieces of art in the past five decades. 'It occurred to me: What am I going to do with it all?' he said. 'I'm not going to sell it. I could never do that. It's not what art is.' He called the museum a "temple to the people's art" and discussed that art is "a personal thing" to us, "not how much it cost or what celebrity did it or whatever. And I don't think it's anything that anybody else can tell you, 'That's art, that's not art.' It doesn't work that way. If you have an emotional connection, then it's art. "I've discovered just from my experience of making movies and things that other people's opinions don't mean much." Del Toro, a board member for the Lucas museum, appreciates "the pieces we have that celebrate freedom from anarchy," he said. "Comics were the first one to punch Nazis before movies." And with art, "we're not eternal. But what we hold and cherish is." The recent fires made del Toro worry a little about his own large collection. "I draw the line at three houses full of stuff," he said with a laugh. "Now that this museum exists, maybe some of it goes there." And the Lucas museum very much reflects the man whose name is on it, said Chiang, whose own work will be on display. "George leads from the heart, and this museum is him. My hope is that it will inspire the next Norman Rockwell or Frank Frazetta."
USA Today
12 hours ago
- USA Today
Just how did 'Wizard of Oz' at Sphere Las Vegas take Dorothy from 2D to 4D?
LAS VEGAS – In a month, the Las Vegas Sphere will be turned into the verdant splendor of Emerald City. And the vibrant mosaic of Munchkinland. And the dusty amber plains of Kansas. It's 'The Wizard of Oz' not just as a film, but an experience. A place where the 160,000 square feet of Sphere screen transports you into Dorothy Gale's world and, through the use of 4D and haptics, immerses you in the feeling of being inside a tornado and makes you cower at the sight of those dastardly flying monkeys heading from the Wicked Witch's lair to your seat. The film, which opens Aug. 28 at the technologically sophisticated venue just off the Las Vegas Strip, was chosen for Sphere-i-fication because of its generation-spanning appeal. 'It's a movie that your mother watched, that you watched with your grandmother or your kids,' says Jane Rosenthal, the Oscar-nominated producer helping helm the production. 'The movie became so beloved because you felt you could go into Munchkinland or the Emerald City even in a traditional TV format. It's a natural for the Sphere because of the elements that can be made immersive.' The Sphere's film has been in development for two years with a team of more than 2,000 filmmakers, technicians, audio experts and AI creatives working to transform Oz from a 2D world into an extraordinary envelopment of sight and sound. Las Vegas Sphere concerts: All the bands that are playing and how to get tickets Why the Sphere's 'Wizard of Oz' is an unparalleled experience Those involved with 'Oz' wouldn't confirm the $80 million price tag alluded to when the project was announced in August 2024. But, from the near-final pieces of the film USA TODAY observed in July, it's evident this has been an exhaustive, finely detailed endeavor. From the clarity of Judy Garland's doe eyes with eyelashes that can be counted to the 16-foot-long helium-filled monkeys steered by drone operators, it's sheer wonderment. And the tornado? You'll find yourself ducking in your seat at what feels like farm equipment and animals flying toward you as 750-horsepower fans built specifically for "Oz" hurl wind and (paper) leaves around the venue. To assume the film is merely glorified IMAX is akin to saying earbuds provide the same sound quality as $16,000 studio headphones. The $104 admission likely seems steep, but not as much after you factor in the cutting-edge experience and the Vegas location. How 'ethical AI' transformed 'The Wizard of Oz' at the Sphere The Sphere team worked closely with Warner Bros. and the Academy of Motion Picture Arts and Sciences to mine the 'Oz' archives from its original 1939 form. Transforming what was filmed for a 4:3 aspect ratio on a standard-sized movie screen to the 16K x 16K LED screen resolution of the Sphere required the use of what Rosenthal calls 'ethical AI.' The time required to convert the film also necessitated editing from its original run time of 102 minutes to 75. The artificial intelligence in 'Oz' was primarily used to extend frames to fill the Sphere screen. Rosenthal gives the example of an early scene when irritable neighbor Miss Gulch wants to take Toto – himself given a furry glow-up – from the Gale home. 'That was originally a three-shot, but as you widen the frame, you now see Uncle Henry standing by the door. You train the AI on Uncle Henry to create him making a move like putting his hand on the door,' she says. 'That stuff was difficult to do.' The Sphere team, with the aid of Warner Bros., found props and set designs from the original movie so objects such as photos on the wall in Professor Marvel's caravan could be generated onto the screen. Every frame of the film takes 300 hours (12.5 days) to render. An edit of a few seconds might take days to fix. And then there is the equilibrium between respecting a classic and elevating it to immersive heights. Award-winning technician Glenn Derry, the executive vice president of MSG Ventures, spent thousands of hours refining minutiae such as the breathtaking moment when Dorothy awakens in her sepia-toned heartland and steps into Technicolor Munchkinland, the yellow brick road seemingly stretching into space. 'We're trying to be tasteful with these things,' Derry says. 'I don't want to distract from the film because it's one of the great masterpieces. You want people to be part of it, but balance that with not being distracting.' Emotion and revelations and nostalgia, oh my So while the cranky apple tree will hurl featherweight red orbs at Sphere "Oz" viewers, and seats will vibrate with ominous warnings of the Wicked Witch or hopeful spasms when Glinda the Good Witch soars inside her pink bubble, the heart of 'Oz' – as the Tin Man would appreciate – is intact. Derry says his favorite effect is the hulking Wizard head, which almost sneaks in from the side of the screen while pyro is dispatched in front of it. 'It's a nostalgic thing for me,' Derry, whose father worked in the industry as a machinist and physical effects expert, says. 'I love the elements that you don't notice and then you turn and are surprised.' The revelations will begin as soon as moviegoers step into the atrium of the venue, which will be converted to an Oz-like atmosphere with interactive elements (that Wizard head might have another role along with booming on screen). It's an experience that simply cannot be duplicated. 'With the emotion of 'there's no place like home' and 'Over the Rainbow,' I feel fortunate to bring this movie to life,' Rosenthal says. 'A venue like Sphere makes you want to keep going to the movies.'
