“The Getaway”
December 13th, 2009
When Dexter started its season, I spent a lengthy post comparing the show to 24, arguing that the show’s initial interest in Dexter as a psychological case study has been all but eradicated by seasons which have turned the show into your basic serial thriller that fails to take into account just how complex the character truly is. The show took two seasons to establish that Dexter is someone who has a code, and who kills those who deserve to be killed, and now it has taken that stock character and turned him into the blood analyst equivalent of Jack Bauer, happening to find himself wrapped up in compelling cases each and every season that speak to Dexter more than something wholly random but often do so in a superficial way. And like 24, these situations can often be quite compelling, but if you stop and think about the real potential in this character and the series you can’t help but feel that all involved could do better.
If we choose to accept that this is all Dexter is going to be, the fourth season has been quite solid, benefitting from a terrific and terrifying performance by John Lithgow as Arthur Mitchell, also known as the Trinity Killer. And much as 24’s fifth season was one of its strongest due to the amount of time spent crafting Gregory Itzin’s President Logan into a complex antagonist, the show works infinitely better when it takes the time to create a character that can give us chills, and who brings out interesting shades in Dexter’s character. So long as we ignore how convenient it is that Trinity is based in Miami, the consequences (like Jennifer Carpenter’s fine work post-shooting, like more time with Keith Carradine, etc.) are quite engaging, and viewed on their own represent some great dramatic television.
But they’re surrounded by a show that can’t help but call attention to its faults, and how those faults could have been prevented. Harry Morgan, once an integral part of the series’ mythos, has devolved to the point of serving as an exposition tool, a physical representation of Dexter’s self-conscience that the writer aren’t even willing to define as either angel or devil because they’re afraid that question would be too complex to handle. The supporting characters, like Batista and LaGuerta, are given stories that are literally just excuses for them to remain in the cast. Rita and her kids, once a beard for Dexter’s inner emptiness, have become a way for the show to investigate fidelity and suburban life, but never in a way that feels like it goes beyond melodrama.
“The Getaway” takes a lot of these elements and puts them to good use, unearthing Dexter’s bloody past in a way which feels organic and concluding the Trinity arc with the sort of momentum that the show is so very good at developing. And in its conclusion, which is in fact truly game-changing, there contains the DNA for the show to reinvent itself, to send it down a darker and more complex path that harkens back to the show’s first season.
And I’d be a hell of a lot more excited if I thought that was actually going to happen.
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Cultural Learnings 
Hard-Boiled or Sunny-Side Up: The Divisive but Satisfying 2009 Primetime Emmy Awards
Hard-Boiled or Sunny-Side Up:
The Divisive but Satisfying 2009 Primetime Emmy Awards
How do you like your Emmys?
Oh, don’t pretend as if you don’t have an opinion. Anyone who is reading this column has some sort of an opinion about the award show and its brethren, lavish ceremonies designed to recognize the very best in a specific industry. However, the Emmys are not a universally accepted success story, and while there are some who view the awards as a valuable institution for recognizing talent others see them as an antiquated and slow-minded organization hellbent on refusing to accept that which is different in favour of more traditional “awards” fare.
As such, Emmy producers really have two entirely different bodies of viewers to be concerned with (throwing out those who would never watch the show in the first place). On the one hand, they have those people who believe in the dignity of the Emmy Awards, who highly respect the work of the Academy and believe quite strongly that this is a serious occasion meant to honour the very best in television. On the other hand, you have those who are angry that Battlestar Galactica never won a major award, and that The Wire and The Shield got snubbed for their final seasons, and who are convinced that any time the Emmys do make a good decision it was by some sort of fluke.
What host Neil Patrick Harris and producer Don Mischer put together for the 61st Annual Emmy Awards was what I would considering to be the Sunny-Side Up version of the Emmy awards. With a charming and self-deprecating Harris at the helm, and a sarcastic and rarely serious John Hodgman playing the role of announcer, they staged a show which spent nearly every moment not taken up by awards being self-deprecating or dismissive of something, whether it’s the future of broadcast television or Harris’ own bitterness over his loss in his own category.
For those who have little to no faith in the Emmy institution, this was an ideal point of view which gave them an entertaining show that one almost feels joins in on their frustration, if not directly. However, for those who look for a more hard-boiled and serious awards ceremony, chances are that they viewed this year’s Emmys as an ill-conceived attempt to pander to younger audiences.
Me? I’m just happy they weren’t scrambled.
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