Tag Archive for 'dexter'

5 Great Plot Twists

Sometimes, there is a fine line between surprising the audience with a completely unexpected plot development and jumping the shark, but when a show does it right, the viewers will be discussing it for weeks, and sometimes years, after the fact. I’m not talking about some “Bobby in the shower” kind of plot twist, either. The best twists manage to utterly surprise the audience while still being necessary to the plot. Often, looking back, it’s clear the writers have been preparing us for multiple episodes — even seasons — and we just never knew which clues to look for. Here, then, are 5 great plot twists that spring to mind.

Warning: Spoilers ahoy. Read at your own peril and use the scroll bar liberally if necessary.

5. Lost, Season 3 Finale
Why the twist was great:
The show was treading water, returning to flashbacks we’d seen before and revealing precious little new information — and the viewing figures reflected this. Then, Crazy Drunken Beardo Jack yelled that they had to go back to the island, and everything changed. Since most people thought the show’s focus was simply on whether or not they ever got off the island, no one really thought to ask what happened afterwards. It opened up a whole new element of the story, expanding the show’s possibilities and suggesting a very different endgame than the first three seasons had. Plus, it meant we never had to suffer through another “Kate-on-the-run” flashback again.

4. Dexter, Season 1
Why the twist was great:
After Dexter spent a large part of the first season complaining that no one could ever really understand him, we should have seen this coming: Dexter has a brother, and his brother has the same questionable hobby of hacking people up into little pieces. This is a perfect example of a twist that made absolute sense and only furthered the plots and themes the show had been developing. When Dexter was forced to choose between the brother that wanted him to remain a cold-blooded killer and the sister of whom he was rather “fond,” his choice gave us hope that, perhaps, Dexter was a much nicer serial killer than we’d originally thought.

3. Melrose Place, Season 2
Why the twist was great:
You can find out how old someone is by asking if they remember Kimberly ripping off her wig, because that scene was one of the defining moments of early 90s TV and is permanently ingrained in the minds of everyone who watched. Looking back, it’s hard to pinpoint exactly why. The scene relied on the cheesy synthesized tunes of which the show was so fond, which really should have taken us entirely out of the moment. However, up till this point the show had been an over-the-top relationship drama, more about swapping partners than rediscovering that the girlfriend with whom you’d cheated on your wife had returned from the dead with a horrible scalp scar from brain surgery. When that wig got ripped off, we knew the show was about to rewrite all its own rules, and that was fabulous.

2. 24, Season 1
Why it was great:
Once, many years ago, 24 was a really good series. Now, it’s become something of a parody of itself, with a new! shocking! plot twist thrown into every episode, usually leading to some sort of gaping plot hole through which you could fly a DC-10. There was a time, however, when it seemed like the writers actually planned the season arc in advance and there wasn’t yet an entry in the 24 drinking game for “a mole is found at CTU.” When Nina, Jack Bauer’s co-worker and close friend, was revealed as the mole before shooting Bauer’s wife, the audience was stunned. It was the first betrayal, and the first death of a major character. These days, you may get that every other episode, but there’s no time like the first time.

1. Battlestar Galactica, Season 3
Why it was great:
You knew this would be here, didn’t you? Of course it would be. Although I toyed with the ending of the pilot episode, when cloned Boomer suddenly appeared out of nowhere, it just didn’t have the same emotional impact as the end of the third season. We all knew, or at least suspected, that the remaining Cylons were aboard the Galactica, but perhaps we were hoping that it wouldn’t be characters we actually liked. Also, the viewers expected one, or maybe two Cylons to be revealed at a time, and the show went and dropped four of them on us, all of them with some connection to the remainder of the cast. If that’s not enough, we also have to question the significance of the very Earthly Jimi Hendrix tune. They didn’t actually rewrite the rules mid-show, but it sure felt like they were playing a whole new game.

Embedding is disabled on the YouTube clip, but you can watch it here.

What about you? What plot twists do you remember? And let’s try to keep the comments somewhat spoiler-safe by putting any show titles in bold for skimming ease. Thanks!

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5 Best Television Opening Credits

I am still obsessed with opening credits, but this week I’m switching the focus from the theme songs to the actual images. While most shows simply set a bunch of clips to music, a few recognize the power of an unforgettable opening, something that is visually stunning or humorous or just plain cool, all without recycling images from the show. These five openings all fit the bill in one way or another.

5. Dead Like Me. If Bill & Ted’s Bogus Journey taught us anything (other than the proper technique for a Melvin), it is that an anthropomorphic Death can be really, really funny. Perhaps the creators of this title sequence spent a little too much time watching that film in their teens, but they can be forgiven if this is the result. It’s quirky, fun, and proof that Death has a killer crossover dribble. I’ve never even seen this show — a friend recommended this clip when I told her I was compiling this list — but after watching the clip below more than once and giggling all the way through each time, I want to. That has to be the best proof of a good opening.

4. Deadwood. It’s not just my bias for the show that leads me to include this one. The Deadwood credits have arguably the best cinematography of any opening sequence, ever. Who knew dirt, blood and filthy miners could look so good? The juxtaposition of the running horse with the grimier images serves as a perfect intro to the show’s theme of the quest for freedom in a harsh land. However, you don’t need to play Fun With Semiotics to still appreciate the beauty of this intro.

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Dexter: The Dark Passenger Rides Again

Sunday night marked the end of the second series of Dexter, and I think I finally have my thoughts in order. This show consistently works on so many layers that I can’t trust my first response; I must consider why I react as I do. After all, as I’ve noted before, this is a show that revels in drawing the audience into Dexter’s dark world. Though it wasn’t quite as perfect an ending as the first season, there was an awful lot to love about it — and a few things to nitpick.

Thoughts and spoilers after the jump.

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The Week in Review: TV Haiku

One busy weekend, and already it feels like I will never catch up again. Well, not until January, at least, when I will suddenly have to sit through old episodes of The Cosby Show or TJ Hooker in order to find something to write about. There’s something to look forward to.

In order to save time, allow me to distill the essence of the past week’s television into its purest form, the haiku.

Heroes
Heroes showed promise
Monroe and shirtless Peter
Can save my world.

Ugly Betty
Shocking twists! And yet
I was most surprised to learn
Posh can’t act. Who knew?

Dexter
I’m a bit worried.
When psychopaths lose control
It’s not a good thing.

Grey’s Anatomy
Chemistry, my ass.
Could a scientist explain
why I’m still watching?

Chuck
Its best show so far,
Which means a cancellation
Will shortly follow.

Friday Night Lights
I’ve only got love.
I’d marry this show today
If it would have me.

Prison Break and Supernatural are still waiting on my hard drive for another night, but it’s your turn now. Do you have your own 5-7-5 review of these shows or any others?

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Vicarious Cruelty and Other Happy Thoughts

Television is an invention that permits you to be entertained in your living room by people you wouldn’t have in your home. ~David Frost

DexterMr. Frost is right, you know. At the moment, I have an episode of Dexter waiting on my hard drive and watching that will likely be the high point of my evening (which isn’t quite as sad as it sounds because, as I have pointed out previously, Dexter is one of the best damn shows on television).

I know I’ve brought up the idea of audience theory before, but I’m feeling especially pedantic today and in a mood to go into a bit more detail (skip to the jump if you just want to read about Hugh Laurie). The uses & gratifications theory states that audiences consume media in order to be gratified in some way and breaks the reasons into four categories. The first is diversion and escapism, such as with fantasy blockbusters. The second is personal relationships, the idea that people begin to feel close to these characters and want to spend time with them. This is the only explanation for the continuing existence of Two and a Half Men, though I would dearly like to have a word with anyone who encourages Charlie Sheen to continue acting. Next you have personal identity, in which the audience takes their cues on how to behave from the media. Best case scenario, this means that your house is inspired by Top Design; worst case is that you spent the late 90s wearing the “Rachel” haircut. Lastly is surveillance, the acquiring of information through the media. Think news and documentaries or, for that matter, Sesame Street. Hey, Bert has some extremely valuable knowledge to impart. On the surface, that all sounds like a straight-forward and valid theory, but where the hell does a serial killer fit in? I’ve decided to add a fifth category to this popular media concept: vicarious cruelty.

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Dexter, my boy

My television obsessions come and go, though I like to think that this is due less to a fickle nature than to the difficulty in maintaining a consistently good program over several years. My first obsession, the show that I refused to miss, was Twin Peaks. Fortunately, my friends shared this love, and we spent many a Saturday night in high school huddled around the television, practicing our best crazy-dwarf speech and competing to see who could freak the others out with the best Bob impression. This may be an excellent time to point out that I was something of a dork in high school. Of course, this tight-if-bizarre program quickly degenerated into David Lynch’s personal dreamscape, bless his demented soul, and the show vanished.

There have been others since then. Buffy the Vampire Slayer ruled my Tuesday nights. Season 2 of Alias spawned a still-unsatisfied desire for a massive wig collection and a hot but morally ambiguous mother. Battlestar Galactica made armageddon dirty sexy and dark as hell. Deadwood taught me that I actually don’t know how to curse like a sailor, and each episode I took dutiful notes to improve my foul-mouthed speech.

Most of those are gone now, and some had already lost my love before they went off the air. They took me for granted. The carefully wound stories with which they had romanced me on our first dates evolved into long, rambling anecdotes about their father issues. They started gaining weight, adding unnecessary characters and pointless scenes. It felt like they had stopped trying.

Which is why I look to my current obsession and can only beg, “Don’t ever change, Dexter.”

Yes, I’m involved with a bad boy. The hottest, scariest, smartest bad boy around. Momma warned me about them, but I’m a sucker for a TV show dressed in black leather that rolls up on its Harley, throws its cigarette to the ground and pulls me on to the back, then carries me off into the unknown night. I fucking love this show.

It’s exactly what contemporary noir should be. Recently, the television show Veronica Mars and the film Brick took noir into the high school, and that was an interesting fit. The themes of isolation, individualism and oppression by authority worked perfectly within the high school setting, but the duality that marks the best noir, the conflict between light and dark that defines the protagonist, was never fully developed with a seventeen-year-old character. However, make the hero a freaking serial killer trying to exist in society and you have taken the genre to its natural next step. Dexter is everything a noir anti-hero should be: clever, witty, charming, devious and oh, so dark.

The conventions of the genre are firmly in place: the high-contrast lighting, the odd camera angles, the voice-over narration. But it’s the exploration of the themes that make this show truly stand out. Unlike most films and television, it does not simply ask the viewer to observe the darkness from a safe distance. It demands a moral decision. We watch Dexter preparing for and committing his murders and wonder whether or not we should be cheering him on. Conveniently, he only kills other bad guys, and the character is so likable that we want him to get away with it. Though the ritual of the deaths makes me uneasy, I can’t stop watching. The show drags me into its morally gray world and makes me complicit in the murders, as I never want Dexter to get caught. Kill on, you sick bastard.

The show would not be half what it is without Michael C. Hall in the lead. He can show fear, amusement, dismay or excitement without appearing to move a single facial muscle. When I am queen of the world, he will be able to pave his driveway with Emmy awards. Until then, the best I can do is spread the word. Watch it. But don’t come crying to me if you find yourself a bit disturbed. You’ve been warned.

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