Dexter: New Blood (TV Program)

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    Get Your Kill Room Ready. Dexter Is Back.

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    Eight years after the lovable serial killer went into bearded self-exile, he returns for “Dexter: New Blood.” Here’s a refresher on where things left off.“Dexter” ended in 2013, with its protagonist self-exiled to the frozen North and most major characters dead. But you can’t keep a high-functioning psychopath down. “Dexter: New Blood,” which premieres on Showtime on Nov. 7, finds Michael C. Hall’s Dexter Morgan working at a fish and game shop under an assumed name. His side hustles including bladesmithing, goat farming and maybe some vengeance.In the intervening eight years, you may have forgotten a few details of the show — other than, say, its wildly unpopular finale. Here are a few mementos.The KillerDexter Morgan, born Dexter Moser, grew up in Miami, the adopted son of Harry Morgan (James Remar), a Miami Metro police officer, and his wife, Doris. He has an adoptive sister, Debra Morgan (Jennifer Carpenter). During the first season, it is revealed that Dexter also has a half-brother, Brian (Christian Camargo), and that the two boys witnessed their biological mother’s murder, via chain saw, and were left with her dismembered body in a blood-flooded shipping container for days. If you’re thinking trauma like that might make anyone into a serial killer, you’re right! Twice!When Dexter was still a child, Harry discovered the corpse of the neighbor’s yappy dog, which Dexter had buried alongside other animal bones. Accepting Dexter’s antisocial tendencies, Harry channeled those impulses into hunting — first animals, then, as Harry put it, “other kinds of animals” who have escaped justice. With Harry’s permission, Dexter killed his first human at 20, offing a nurse who was overdosing her patients.Dexter became a bloodstain pattern analyst for Miami Metro. Deb joined him there as a police officer, working first in vice, then in homicide, and in time becoming a detective. Eventually, Deb learned Dexter’s secret (walking in on your adopted brother mid-stab will do that) and later killed to protect him, which sent her spiraling. She also discovered that she was in love with him, an upsetting twist even for a show that specialized in upset.Armchair psychiatrists watching at home have diagnosed Dexter as a sociopath and a secret schizoid. Dexter claims not to feel human emotion. He lets the audience in on his real thoughts through voice-over, like this one from the pilot: “People fake a lot of human interactions. But I feel like I fake them all. And I fake them very well. And that’s my burden, I guess.” As the original series progressed, Dexter seemed to move closer to authentic emotion, maintaining friendships and romantic relationships and enjoying a close bond with Deb, even as he never lost his need to kill. He personified that predatory urge as his “dark passenger.”Is Dexter a bad person who does good things or a good person who does bad ones? Or neither? Or both? He loves a pulled pork sandwich and is surprisingly good at bowling.James Remar, left, plays Dexter’s adoptive father, Harry, who appears to Dexter in visions to remind him of the code.Sonja Flemming/ShowtimeThe CodeOnce he recognized Dexter’s death drive, Harry taught Dexter to adhere to a code. “There were so many lessons in the vaunted Code of Harry — twisted commandments handed down from the only God I’ve ever worshiped,” as Dexter put it. “One through 10: Don’t get caught.” Other rules: Never kill an innocent person. Kill only those beyond the reach of the justice system. Be prepared. Leave no trace.Dexter occasionally violated some aspect of the code. (He was caught surprisingly often. But that’s what happens when you run for eight seasons.) But he killed the wrong person only once, and he rarely lets emotions cloud his judgment. He often killed when threatened, but he sometimes refused to kill people — even dangerous or inconvenient people — when they failed to meet Harry’s criteria. He has even released a few people from his kill rooms.Dexter (Hall, with Sam Underwood) delivers a lecture to one of his many, many victims per the usual routine.Randy Tepper/ShowtimeThe RitualUnless acting in self-defense or within a significant time crunch, Dexter adhered to a specific ritual. Knocking his victims out with a synthetic opioid, he brings them to a plastic-draped kill room, decorated with photographs of their own victims. He undresses his prey, then binds them to a table with duct tape or cling wrap. Using a scalpel, he makes an incision on his victims’ cheeks, placing a droplet of their blood on a glass slide, adding the slides to his collection of trophies.Before killing his victims, whom he refers to as his playmates, he often toys with them, engaging them in conversation. His preferred weapon is a knife, but he knows his way around a saw — and an anchor, a cleaver and a pen. After the kill, he dismembers the bodies, places the parts into plastic trash bags and dumps them into the bay.Dexter at one of many funerals with his sister, Debra (Jennifer Carpenter, in plaid shirt), who . . . also later died.Sonja Flemming/ShowtimeThe DeadBy the time the original series ended, most major characters had died. There are Dexter’s direct victims, of course, a list that includes his brother, Brian; an ex-lover or two; and more than 100 others. Most of his known associates have also come to bloody ends, like his wife, Rita Morgan (Julie Benz), a victim of the Trinity Killer (John Lithgow), and several of Dexter’s co-workers, including James Doakes (Erik King), an antagonist, and Maria LaGuerta (Lauren Velez), his former lieutenant, shot by Deb in a bid to protect Dexter.Deb died, too. (More on that in a minute.) But deceased “Dexter” characters often cameo, courtesy of Dexter’s vivid imagination.Dexter said goodbye to his sister in the original series finale, and goodbye to his life in Miami.Randy Tepper/ShowtimeThat FinaleThe final season found Dexter stalking the Brain Surgeon, a serial killer with ties to a famous psychologist. The Brain Surgeon shot Deb in the abdomen. In the finale, she suffered a complication during surgery, a blood clot (way to work those metaphors) that left her in a vegetative state.Dexter had planned to escape to Argentina with his onetime girlfriend and fellow serial killer, Hannah McKay (Yvonne Strahovski), a poisoner, and Harrison, the child he had with Rita. But Dexter can’t escape himself. As a storm approached, he murdered the Brain Surgeon. With a pen! Sending Hannah and Harrison ahead, he turned off Deb’s life support and absconded with her sheet-wrapped body, which he dumped alongside his other kills. The hurricane arrived, wrecking Dexter’s boat and ostensibly killing him, too. But the final shots find Dexter in some frozen waste, having grown a lumbersexual beard and invested heavily in flannel.It’s an ending that no one saw coming. Probably because it lacked closure, retribution and attentiveness to Dexter’s journey toward personhood. Maybe the snowy new series, set in upstate New York, will provide that. More

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      ‘Dexter’ and the Shows That Wouldn’t Die

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      The revival of the serial-killer drama is TV’s latest refusal to let a supposedly finished franchise rest in peace.The first thing to die in “Dexter: New Blood” is irony. The murder weapon is the subtitle.Oh, there’s blood, all right. That’s what Showtime’s righteous-serial-killer franchise promised from 2006 to 2013, and we get it in the very first episode of this revival, in snow-staining buckets. What we don’t get, in the four competent but redundant episodes screened for critics, is the “new”: any hint of a fresh creative impulse in a series that had worn itself out years before it left the air.Then again, in “New Blood,” as in so many of TV’s ubiquitous revivals, novelty is not really the point. The point is to give people more of what they already expect, by pulling out the electroshock paddles and reanimating any property with a following.You might have thought that interest in a “Dexter” comeback would have been squelched by the (supposed) series finale, a contender for the TV disappointment hall of fame. Dexter Morgan (Michael C. Hall), whose foster father taught him to channel his bloodlust into killing only the deserving, seemed to end his story by piloting a boat into a hurricane off the coast of Miami, to join his murdered sister, Debra (Jennifer Carpenter), in death. That is, until the final scene upended the closure and consequence, revealing our slayer alive and working in a lumber yard.“New Blood,” which begins Sunday on Showtime, finds Dexter living a new life — but not that one. He’s living in upstate New York (played by picturesque Shelburne Falls, Mass.) as “Jim Lindsay” (a seeming nod to the novelist Jeff Lindsay, whose “Darkly Dreaming Dexter” the series was based on). Hall’s distinctively icy delivery now has a climate to match.Jim’s a solid citizen, dating the local police chief (Julia Jones), chopping firewood, going out line dancing and working at a sporting goods store selling knives and guns. (In the original series, he worked as a forensic blood-spatter expert; “Dexter” loves its wry vocational choices.)Do we need to call it a spoiler that Jim/Dexter finds it not so easy to control the “dark passenger” that drives him to kill? That his romance with a law officer becomes uncomfortably complicated, as his relationship with the police officer Debra once was? That he still retains the knowledge of how to set up a home slaughter shack? Then consider all eight seasons of “Dexter” a spoiler, because “New Blood” gives you little that you aren’t used to, beyond the temperature.It even brings back Debra, now a taunting imaginary presence in Dexter’s mind. It’s a fun, flashy role for Carpenter, but it does little dramatically except to rehash Dexter’s past torments and manically externalize his inner state, which is already amply told-not-shown through the series’s voice-over.Jennifer Carpenter returns as Debra, Dexter’s dead sister, who is now an imaginary presence.Seacia Pavao/Showtime, via Associated PressThe newish wrinkle is the sudden appearance of his son, Harrison (Jack Alcott), last seen as a tot heading off into exile in Argentina. He is now a teenager with Dexter’s thousand-mile stare and a lot of questions.His inopportune visit, and Dexter’s worry that Harrison has inherited the dark passenger, has the potential to emotionally complicate the story. But it mostly serves as one more source of pressure in the season’s busy cat-and-mouse game. There’s also a string of missing young women in the area; a potential school shooting; and the appearance of that staple of brooding cable dramas, a Symbolic Mystical Deer.Sanguinary and superfluous, “New Blood” ends up being an example of the worst traits of two different TV eras at once.The original “Dexter” began well into cable’s antihero period, a flourishing of difficult protagonists that, at best, gave us “The Sopranos” and “Breaking Bad,” series that forced their audiences to confront the moral implications of being invested in the villain. At worst, it simply offered audiences excuses to revel in the vicarious thrill of bad behavior.For its first couple seasons, “Dexter” was a mischievously provocative narrative. It offered a funhouse-mirror reflection of gory police shows like “CSI” — Dexter was both spatter-analyzer and spatter-maker. And it invited us to wonder about the nature of morality: Was Dexter actually a moral person, or just a monster who’d learned a neat trick?But as it went on, the show gave its protagonist and its audience more and more loopholes. Interrogating the show’s premise — basically, a permission structure for the audience to have fun with a vigilante murderer — would ruin the fun. Instead, the show let you enjoy Dexter’s macabre handiwork and even cheer him on to evade capture, because his victims were evil, because without him someone would commit even worse crimes, because he was in the end a kind of victim.The new series likewise seems to be mostly comfortable as a darkly comic romp, opening with a stalking sequence set to Iggy Pop’s “The Passenger” — get it? — and quickly setting up new cartoon antagonists who are basically begging to get themselves serial-killed. The series’ promise of guilt-free bloodletting hasn’t aged well, even on ice.In the current era of TV, “New Blood” is the latest revival indulging the idea that fans always deserve to get more of the things they liked, because they can — creative dead-ends and supposedly final endings be damned. But this time at least, Dexter did not act alone.This fall brought us the “Sopranos” prequel movie, “The Many Saints of Newark,” a well-made and pointless exercise in remember-when (as Tony once put it, “the lowest form of conversation”) that allowed stars like Vera Farmiga and Corey Stoll to trot out their impersonations of beloved characters while adding nothing to the original story beyond a hint of sadness.“The Many Saints of Newark” features younger versions of “Sopranos” characters like Junior (Corey Stoll) and Livia Soprano (Vera Farmiga).Barry Wetcher/Warner Bros.Because fan bases existed and the checks cleared, we got more “Gilmore Girls,” “Roseanne,” “Will & Grace,” “Arrested Development” and “Veronica Mars,” plus the “Breaking Bad” movie “El Camino” — efforts that played on the affection for TV classics without building on them. This December, a de-Samantha-fied “Sex and the City” will return in the form of HBO Max’s “And Just Like That …”Not every revival or spinoff is a bad idea — but it needs to have an idea beyond “I want more.” “Better Call Saul” can stand with the original “Breaking Bad” because the prequel developed its own picaresque story and voice. “Twin Peaks: The Return” in many ways surpassed the original, by embracing artistic adventure rather than nostalgia.Good, bad or adequate, though, the collective effect of all these continuations and extensions is to rob finales of finality. It denies artists and audiences the power of believing that “The End” is the end. Maybe the “New Blood” season could serve as a do-over, a for-real-this-time finale for “Dexter” after its unsatisfying first try. But would anyone bet on that?Of course, nobody wants critics saying that John Updike shouldn’t return to Rabbit or Margaret Atwood to Gilead; no one wants to squelch the next “Godfather, Part II” in the name of preventing the next “Godfather, Part III.” Sometimes franchises genuinely have more creative life in them.But often they just need to stay buried. As “Jim Lindsay” says in “New Blood,” explaining why he changed his name: “Dexter had to die.” Amen, brother, and yet here we are. You had one job. More