DINH€IRO is a remake of the popular American series Dallas: the story of a Texas family with a ranch, oil wells, shady deals, corruption, murder, terminal illness, domestic violence, adultery, rigged politicians, scandals. But the dramas don’t disturb the Ewing’s sliding wealth. Dallas was a symbol of the American capitalism of its time and thus circulated internationally, between fascination with the sophisticated dramas of the Texan family, and revulsion at their lack of scruples. In communist countries, it was broadcast with the aim of demonstrating how vicious American society was. But regardless of the ideological contours of the series’ reception in each context, Dallas was a television phenomenon on a global scale. In the 1980s, we all followed the saga, we all wanted to know what would happen next. All over the world, we were entertained by the same fiction. And it has never stopped being that way. The power of the Ewing family is its media effectiveness. The Dallas power. In DINH€IRO, the actors try to appropriate dialogue from the series by lip-synching. But the sound record is disturbed. It jams, it loops, and progressively the show becomes a sonic exploration of these anomalies.