Admittedly, Dexter does not operate in the unplowed ground. The series is mostly based on Jeff Lindsay’s romance series, about psychopath Dexter Morgan, who has both legs well planted in the classic crime genre. But Dexter is more than a straightforward genre exercise. It’s a presentation of one of the most unique killer personality development that television camera has ever seen.
By all means, the series is thrillingly executed in an action-oriented plot. What really characterizes Dexter as a television series is the combination of a rare visual style, and the creators’ character-cultivating devotion as with Michael C. Hall creates beyond fascinating personality Dexter Morgan.
Who is he, and where does he come from? The answers pop up from dark prehistory that is as foreign to Dexter as we are. By letting Dexter’s perspective guide our way through history, we rarely know more than what Dexter finds in himself. The rest we have to put together, and the series creators show an unshakable belief that the audience should understand and draw conclusions without having the answers served with a teaspoon.
Of the series’ many strengths, perhaps the most important is how the script does not dwell on details and questions. Dexter assumes a vigilant viewer. At the same time as the title character is continuously formed, the presentation of themes and plots often comes in quick and intricate terms. At the bottom lies strong confidence in the audience, who are always expected to pick up the unspoken, reflect and join in on a journey that is as evocative enriching as it is action-driven.
Unique Atmosphere That Breaths in the Essence of His Thoughts
The visual universe of the series is cemented in a creative and evocative intro that opens each episode and illustrates how the creators consciously exploit the apparent advantage of blood in the coloring of the images. At the same time, the intro clearly plays on the series’ characteristic humor which is as dark as it is strange and underpinning the protagonist’s inner mystery.
Michael C. Hall manages the demanding lead role with the world’s highest self-esteem and has managed to create a character you actually believe in and sympathize with, even though during a season he drops tens of people for the body’s blood and parties the body parts without leaving a clue.
The fact that Dexter Morgan is equipped with an intellect far above the average also allows him to have a continuous reflection on his own actions, so that the audience is also invited to participate in the sometimes complex and challenging questions led by Dexter’s extreme measures. This has also been an objection to the series.
How is a serial killer portrayed as intelligent and at the same time with sympathetic features? This discussion was updated with the case of Mark Twitchell; a young Canadian filmmaker inspired by Dexter that was charged with committing murder after first describing the procedure in a Dexter-like script.
Dexter’s development from the first to the fourth season has been significant. While the people around can rightly be referred to as cardboard figures, they are always one-dimensional to build on Dexter’s personality. This is most evident in the first season, which is, unsurprisingly, also the best of the series, and the only one that in itself can be described as a masterpiece.
When we see the people around Dexter through his eyes, we see them only the way he sees them. As one-dimensional people who are mostly caring for him and thus caring for us.
Understand the Killer’s Mind in a Groundbreaking Performance
We become part of Dexter’s egocentric logic, where family, colleagues, and friends (he has none) are only potential disruptors. We want, like him, to have full focus on what makes him live and kill. The script is in its first season at its sharpest.
The season follows Dexter and colleagues in pursuit of the serial killer “The Ice Truck Killer” that ravages Miami and offers a series of unexpected and clever twists. The first season, of course, gets one flying start because the universe is so new, different, and juicy as a concept.
Only the introduction of the character Dexter Morgan and the visual courage that plays on the morbid and dark are so refreshingly done that you are swallowed only by the atmosphere. When the script both in dialogue and plot progress until the degrees follow up, Dexter develops into true greatness for the television format.
After a fabulous first season, Dexter didn’t deliver in the difficult second season. The popular sequel recipe “more of all” creates a more convulsive seasonal feeling, and the introduction of a new and vital female person in Dexter’s life does not work as a character for herself, to build new sides of Dexter, or to be incorporated into an exciting new plot. She is not a good actor, either. After an opening where the soap opera feeling is also slightly intrusive, it still makes us bite the hook eventually. It gets exciting but terribly uneven.
And the end is unfortunately smooth and illogical, in sharp contrast to the first season finale which is nothing less than a work of art. The third season was a riot, much because the series was once still faithful to the true essence. The season as a whole is level far from the first, but the entertainment value and excitement are more clearly in place.
Moving from season three to season four, at least one important thing has happened in Dexter Morgan’s life: he’s become a father (“I’m killing for two now”). Only that in itself is an exciting starting point for a series that fortunately is not afraid to confront its audience with unpleasant themes.
Who will and can identify with a toddler father and serial killer? This definitely got even darker, bloodier, cynical and even more provocative when Dexter Morgan is back for the fourth round.