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post #3901 of 5949
Well, not so long ago I was lamenting (in a way) that I had not seen the purpose for the Mos Def character. Big reveal with the latest, greatest installment. Must say that I found his death-bed challenge to Dexter to be brilliant. Now that was a worthy goal -- to set up a figure who had walked both roads, light and dark, and came out in the end gravitating toward, supporting, and promoting the light, then challenge Dexter to do the same -- that was a perfect device for this season of exploring spiritual foundations. The execution of it left something to be desired of course, but this was one of the best plot contrivances in some while.

One thing which stood out to me was we gain the sense that our dying brother has in mind that forgiveness means absolution and therefore release from possible retribution, but I don't think I find forgiveness followed by summary execution to be incompatible. That Dexter read his challenge as having to "let go" of the obligation of killing Sam's murderer, makes clear that Dexter interprets what he is doing as something along the lines of divine justice, in other words there is a meting out of recompense to balance the violated scales. You took something to which you were not entitled, I take something from you. Eye for an eye -- can't get much more Biblical than that. It almost implies a not necessarily mature emotional component, along the lines of earlier references to Dexter's emotional connection to his kills.

In the eyes of the law, such retributive justice would ideally be at complete remove from emotion -- the clinical application of statute removes the convicted from society as a protection, even possibly learning experience toward rehabilitation, but not intended necessarily to grant emotional release to the victimized, otherwise we might let them decide upon and inflict the judgment. But here we see that Brother Sam recognizes the potential for Dexter's dark passions to intercede and would wish he not engage that way. He wants Dexter to let go of follow-up, but I think it possible that Dexter could well forgive in his heart, then calculatedly impose sentence, just as he seemed to do with Lila -- Dexter certainly understood, even empathized with and appreciated her killing Doakes out of a sense of protecting him from that imminent danger, but was nevertheless fully compelled to enact the inevitable, inexorable mechanics of THE CODE. But alas, that was in the days of a taut, cohesive DEXTER and Dexter.

But let us say forgiveness equals letting Nick continue to roam this earth, Dexter attempts to reconcile what he knows with allowing this, but fails. In a similar depiction to the Rankin interlude, we see an altogether too despicable display which puts Dexter over-the-top and demands instant justice. This frames the way Dexter views all of his kills in a way I don't think we have seen before. If Dexter has sense of anger and injustice, and that propels him into action, it would seem something much more admirable than how he got started along this path, killing defenseless animals and admiring those who preyed on the weak and totally helpless. If this was the direction which Harry pointed him toward, then we say Harry triumphed and DID foster and nurture the light in Dexter, but against that revelation, within this episode we have the Harry character saying he DID NOT see the light in Dexter as contrasted to Brother Sam seeing it.

Here is where the execution leaves a little something to be desired. I think we were supposed to gain the sense that Brother Sam saw through to Dexter's soul, even possibly might have understood Dexter's murderous potential, whereas Harry, who was in a much better position to see the experimenting innocence of a boy discovering himself and the world, could not see light in there...don't quite buy that. In fact the whole Brother Sam vehicle was pretty forced overall -- I forgive it due to time constraints and given the function that he served, but I can't say I ever much believed that Dexter would gravitate toward this guy without much better reason than what was presented. He did not know if the guy still had murderous impulses yet let him into proximity with Harrison even after suffering all that guilt over putting Rita in the situation which got her killed. Then has this unique and deep connection to him in the end...? But those are trifling criticisms when this latest installment turns out to be one of the best we have seen in some long while.

If only DEXTER could stay away from disastrous departures of logic and just plain weird, lazy writing, we might have something of the classic DEXTER we knew. Just as example, we have Deb as Lt. speaking to the assembled troops: Why would the Doomsday Killer have us trigger the kill, as in the angel lady dropping by trigger and bleeding out? Mr. Man new guy strides over triumphantly and reads from scripture words to the effect "You must go back and report to many peoples and nations and languages and kinds." Deb: "So I'm guessing we're those people...." Question asked and answered? That was a totally nonresponsive non-sequitur. Scripture says report to many peoples and that is the reason the killer makes the cops trigger a kill versus killer does it himself in private (Deb's question to the group)? Makes no sense whatsoever, yet it satisfies everyone in the room?

This season is filled with crap like that just dumped in there, like they hired a new writer mid-sentence who did not understand where they left off. Another example is that utterly weird interlude of stealing the ITK hand. I agree, that whole bizarro meandering unrealistic idiotic routine seems to have been some sort of way to get us to think about the reintroduction of bro, but what a disastrous path to get there. To begin with, without a provenance, such an item would be virtually worthless, just a mannequin hand with painted nails -- she would have been much better off with the actual ID. And why didn't she take that too? But to even think she would take anything defies logic, then to sell it? -- something she professed to have obsessive connection to? Wow, bad bad bad. And in the end we get Musuka saying to new intern (because he seems to know how to type on a computer) that he wants the object back. Intern says get it from buyer. Masuka says something like "I tried. You have to give the site which is selling before they agree to auction it." What? That makes absolutely no sense to me, but what does intern guy do? He wipes it off the internet of course as well as breaking federal law to hack Masuka's credit rating! Good enough! You're hired!

So fair to say plenty of just really bad in there with what I happily report as much improved DEXTER of latest, and none too soon....
post #3902 of 5949
Quote:
Originally Posted by archiguy View Post

I swear I'm going to try to work that into a conversation at this tailgate party I'm attending on Sunday.

Quote:
Originally Posted by archiguy View Post

I plan on using it as a way to see if any attendees aren't capable of driving home. If they just nod and mumble agreement, I'm taking their keys.

Nice one....
post #3903 of 5949
"Stupid for Dexter" episode 6, "JUST LET GO," is finally up on YouTube: http://www.youtube.com/watch?v=HOxkDqPcu1s. (70 min.) Special guest star: the actor who played Nick.
post #3904 of 5949
Quote:
Originally Posted by Emaych View Post

But alas, that was in the days of a taut, cohesive DEXTER and Dexter.

If anybody should be bitching about "Dexter" not being as good as it once was as loudly as you are it should be me. I watched the first season in the summer of '07 in Showtime repeats (right after I got my first HDTV) leading up to the second season... that's 24 weekly uninterrupted new-to-me episodes of "Dexter" in a row. I've never experienced a more impressive streak of TV episodes in a row in my 38 years of TV viewing, I was literally in TV heaven. That the "Dexter" saga was also building, like a locomotive, such a powerful head of steam leading up to the S2 finale was icing on the cake. But then, after "The British Invasion," ended, my addicted "Dexter" heart got a jolt at experiencing deep disappointment for the first time at seeing the show's writers puss out and make their first forced-by-life's-circumstances unexpected twist to keep Dex a free man that could keep killing. The needs of the business side of showbusiness triumphed over the 'show' part of "Dexter." This has led the writers to conceive, over the past four seasons, ever more implausible situations for Dexter to get into and out of plus for his co-workers not to find out what he does (or, if they do, to conviniently exit the show without revealing what they know) and keep the "Dexter" gravy train going into syndication territory.

But you know what? I don't mind this commerce-dictates-creativity compromise becase "The British Invasion" opened my eyes at how lucky we were that the show's creative crew back in the show's early seasons (Clyde Phillips, Melissa Rosenberg, etc.) went for broke with the show's first two seasons. Season 1 was perfect, and season 2 took the insane-in-hindsight gamble of making the show's "hero" the villain that everybody else was after (Lila, Miami Metro, Doakes, etc.). The easy thing for the writers/producers would have been to take the safe route in S2 and pad the season with self-contained, Dex-hunts-killers episodes. Instead they literally went on a walk in a high wire and, up until the next-to-last episode ("Left Turn Ahead"), were walking on air (and taking us alongside) in making a show's sophomore season seem like it would be the show's last. What I'm trying to say is that "The British Invasion" showed me the people behind "Dexter" are human beings, not the Godly sent-from-heaven patrons of quality TV I'd enshrined them to be for the show's first 23 episodes. When #24 came it was time to shoe-horn in a handful of s***ty twists (Lila kills Doakes, Lila tries to kill Astor & Cody, Dex flies to Paris to eliminate Lila, etc.) because it was time for creativity to surrender to the cold hard reality that TV needs many seasons of made episodes for syndication/home video fortunes to be collected.

Now, four seasons and many implausible-situations-keeping-Dex-free-and-his-coworkers-clueless-about-him later, I'm still here watching "Dexter" with as much passion as I can muster for a show that rewarded 98% of my viewing of its first two seasons with the best quality acting/writing/directing/performing I've ever experienced from a cable premium show. I've learned to live with the ups and downs of each seasons' crop of episodes, the result of creative transition (Clyde Phillips and Melissa Rosenberg leaving) and the fact that the actors have gotten better at their roles despite the writing often failing them. The scene in "Just Let Go" when Batista brings Deborah some whiskey bottle for her housewarming party is no better or worse written than similar scene in any other TV procedural. But the warmth of the interaction between Zayas and Carpenter? That chemistry can only come from six seasons of performers that have gotten so comfortable with their characters they can inhabit their scenes. And even though I don't watch "Breaking Bad" or many better-written cable dramas "Dexter" still chills the hell out of me when it allows me, vicariously, to explore dimensions of morality/responsability/society/revenge/freedom that are seldom ever explored in such a unique, creative and (when it clicks like it did on the last episode) compelling set of characters and circumstances. Even if Gellar turns out to be Travis' imaginary friend, this exploration of the psyche of an emotionally damaged/stunted human being is far more intriguing and in-depth than similar approaches done by "Battlestar Galactica" or "The Sixth Sense" by virtue of where we've gone and what we've seen.

So yes Emyach, the days of a taut, cohesive DEXTER are gone. They were incredible and constant (23 out of 24 the first two seasons) and now "Dexter" is the stock market of serial killer shows on premium cable channels: up one week, down the next, on a cold streak for a few episodes, then red-hot when a powerful scene/plot twist comes along. For what the show represented and was to me its first two seasons I will be eternally grateful. But for what it still is I'm still grateful though, because even with better writing/acting/premise on other shows you like, there's simply no other show like "Dexter" on TV. And the day we take for granted that we get to experience this type of show 12 weeks a year every year is the day we don't deserve to have it anymore.
post #3905 of 5949
Quote:
Originally Posted by dad1153 View Post

The needs of the business side of showbusiness triumphed over the 'show' part of "Dexter." This has led the writers to conceive, over the past four seasons, ever more implausible situations for Dexter to get into and out of plus for his co-workers not to find out what he does (or, if they do, to conviniently exit the show without revealing what they know) and keep the "Dexter" gravy train going into syndication territory.

The easy thing for the writers/producers would have been to take the safe route in S2 and pad the season with self-contained, Dex-hunts-killers episodes. Instead they literally went on a walk in a high wire and, up until the next-to-last episode ("Left Turn Ahead"), were walking on air (and taking us alongside) in making a show's sophomore season seem like it would be the show's last. What I'm trying to say is that "The British Invasion" showed me the people behind "Dexter" are human beings, not the Godly sent-from-heaven patrons of quality TV I'd enshrined them to be for the show's first 23 episodes. When #24 came it was time to shoe-horn in a handful of s***ty twists (Lila kills Doakes, Lila tries to kill Astor & Cody, Dex flies to Paris to eliminate Lila, etc.) because it was time for creativity to surrender to the cold hard reality that TV needs many seasons of made episodes for syndication/home video fortunes to be collected.

The scene in "Just Let Go" when Batista brings Deborah some whiskey bottle for her housewarming party is no better or worse written than similar scene in any other TV procedural. But the warmth of the interaction between Zayas and Carpenter? That chemistry can only come from six seasons of performers that have gotten so comfortable with their characters they can inhabit their scenes. And even though I don't watch "Breaking Bad" or many better-written cable dramas "Dexter" still chills the hell out of me when it allows me, vicariously, to explore dimensions of morality/responsability/society/revenge/freedom that are seldom ever explored in such a unique, creative and (when it clicks like it did on the last episode) compelling set of characters and circumstances. Even if Gellar turns out to be Travis' imaginary friend, this exploration of the psyche of an emotionally damaged/stunted human being is far more intriguing and in-depth than similar approaches done by "Battlestar Galactica" or "The Sixth Sense" by virtue of where we've gone and what we've seen.

So yes Emyach, the days of a taut, cohesive DEXTER are gone. They were incredible and constant (23 out of 24 the first two seasons) and now "Dexter" is the stock market of serial killer shows on premium cable channels: up one week, down the next, on a cold streak for a few episodes, then red-hot when a powerful scene/plot twist comes along. For what the show represented and was to me its first two seasons I will be eternally grateful. But for what it still is I'm still grateful though, because even with better writing/acting/premise on other shows you like, there's simply no other show like "Dexter" on TV. And the day we take for granted that we get to experience this type of show 12 weeks a year every year is the day we don't deserve to have it anymore.

That is quite an impassioned defense, or can act as such, though I guess it is really more of a confessional as to your appreciation of DEXTER over these seasons, an unabashed outpouring of your joy in and for what they have brought us. Thank you for that. Your positive energies and obvious passion for the production are a joy to me. DEXTER too is a joy to me. I would not want anyone to lose sight of that fact, though I guess I mostly operate on the assumption that anyone would know this simply from my word count alone, the time I've devoted to this series, IF NOTHING ELSE, and there is much else to suggest that. I'd also tend to think that anyone reading those words would glean from what I've written that I wish the show were better. From what you write, there is no doubt you are in exact accord with that sentiment.

Here is where we seem to diverge: you seem entirely willing to accept what you see as flawed writing, implausibility, what have you, and move on from there, on that basis. Appreciate what you have been provided, forgive the flaws. Well, if it has not been obvious, I find I am flawed as well, call it a character flaw, but definitely something in myself I am more than aware of -- certain things just stick with me, they remain unresolved, so end up tainting my appreciation, my enjoyment, my full-on endorsement. Suppose you owned a fantastic work of art, a painting let us say. You loan it to a museum, but the artist always saw the need to make changes and you did not allow him to. Now that it is on loan, the artist sees his opportunity to remake it, but realizes he does not have the time while it is hanging there before being stopped by museum staff. So he sets about to destroy it. Ends up burning half of it. Well, you still have the half you appreciated before, but it is not quite what it was. Do you never mention the loss of half of it? Speak ever of its former glory? Reference the missing half while speaking of what is left?

There are actually of course incomplete works of art, Venus de Milo comes to mind, which many are quite willing to appreciate on the basis of what is left. But I happen to be so structured as to want it all. This debate rages, there are those who would abhor a pan and scan treatment of a widescreen movie -- something is missing, the vision becomes altogether lost for some. I do not think DEXTER is altogether lost, a waste of time, that pitifully poor, dreck TV, not yet anyway, or not in total. In fact alot of the time, it still flirts with greatness. I don't accept that there should be any reason whatsoever for diminishing or compromising the quality. In fact when you have an established fan base sufficient to sustain the production, I would assert that keeping quality high can only serve to boost commerce, but perhaps I'm very wrong on that subject -- with DEXTER ratings never higher, they seem to be putting the lie to that contention.

Maybe I'm just clinging to the pathetic hope that someone on the production might care enough to make it better. In my mind, especially with DEXTER, given the commodity you have with it -- the previous seasons, the characters, the actors, it is not all that hard to do, so in my mind there is no excuse for it not being as good as it could be. You, Dad, put forth that you think the writers are making compromises to promote commerce. I could not disagree more. And I don't think we agree on what is going wrong exactly with DEXTER. I actually saw nothing stunningly removed from the realm of reality with Lila stalking Dexter, then backtracking through his navigator to find where Dexter had been, thus encountering Doakes. Or even killing Doakes. That was her character. She was crazy, toxic, spiteful, vengeful -- all played to a tee and interwoven in brilliant fashion into a cohesive maniacally ingenious interlocked narrative. Absolutely some of the greatest TV ever. And I've actually been acquainted with people who bordered on that constellation of disorders, so completely plausible to me, if possibly possibly possibly a little hyped toward the dramatic side on DEXTER.

But when you then have seasons later Dexter show up at a sprawling massive manufacturing facility, with seeming miles of docks, without any specific directions, pull up to exactly where Lumen happens to be....when she is there because she shot someone she had a hunch about, and her motivations are murky to begin with...when Police are called on a "possible homicide" (how idiotic is that?) because of gunshots heard by God-knows-who since this lit-up-like-daytime complex is utterly uninhabited ($100K machines and stock laying all about for the taking)....when you have the entire squad and full phalanx of Detectives and forensics people awakened in the middle of the night to descend onto this hub right at the exact spot the guy was shot, but they don't know IF ANYONE was shot yet...when you have the uniforms waiting on Detectives when it is the other way 'round...when you have a massive obvious blood pool which has been seen, but then it gets completely ignored in the recounting of the crime which took place...then you have Dexter jumping out from around a corner after having chased a victim in complete silence to within 30 feet of the whole police squad....then I say you are little far afield from just amping up the drama a bit.

Take Deb being promoted. Could not happen, so would not happen. But there it is, stuck right in our faces. Can we ignore it? Get around it? That is the question. I try to soldier on, make excuse or revisions in my mind where the story could have gone to make that possible, but in the end I think it has the effect of corrupting the production -- it tears down some or some good deal of what else good they may be doing, so I can't get behind the new DEXTER 100%. I think it is perhaps just a difference of temperament, and I certainly do appreciate yours -- that is certain. I wish I could allow the enthusiasm to flow, but there are these blockages, and they keep throwing them out there, one on top of another, until such point as I find I am mostly just hanging on the acting or music or pretty pictures, but almost the whole narrative is bog.

And I will say here that when it works, it is complete magic -- you are so so right about that scene with Deb and Batista! -- that stood way out for me as well, even made a note of it of how much I liked that interaction, but oddly with me, the more I like a thing, the more pissed off I can get that these writers are ruining something that could be good. Look what they have to work with! It is all within their grasp and they give us crap a good deal of the time -- they stole our show and made it crap! (is the way I end up thinking about it at times) I should think you would be outraged yourself, Dad (but am happy for your attitude, nevertheless). For every Deb and Batista scene, we have two of Quinn doing some of the most squirrelly, leering, creepy, flat-out bizarro weird yet SUCCESSFUL(?!!!) pick-ups on women that you can imagine.

We have an intern stealing a hand which would be worthless without the ID, but she could have had that too, but anyway, she is able to sell it online, no problem. She took it because she is obsessed with the ITK, but then she wants to sell it for rent, but she is putting her job on the line, which dries everything up, including ability to pay rent, AND her CRIME is 100% going to be discovered. Masuka is alerted by phone call that comes through to him somehow, not the evidence room, not the Detective in charge. I mean people doing stuff people do not do, ON A REGULAR basis -- it goes on and on. Strange chunks of dialog and/or exposition that make no sense -- no reason to be in there, explains nothing, contributes nothing but confusion. Is that totally acceptable? Do we overlook it because DEXTER rates highly?-- obviously no one else cares, so whatever keeps DEXTER on TV is OK?

Do we never challenge what is at work here, declare ourselves utterly lost on all those odd bits, put out the word to whomever might be listening, in the hopes we get something better? I try to cite what I think is going wrong. I have even gone to the extent of demonstrating exactly what I'm talking about, IN DETAIL, much detail -- suggesting alternate pathways, writing myself substitute dialog -- hopefully at least this demonstrates that if I can do it in a few minutes, how hard would it be for these writers, who presumably might have greater stake in the show (maybe they don't), to do? I don't just tear down for the sake of tearing down, I hope this is recognized. I'd be happy enough if the show called me in advance, I think I could perform a valuable service, but I might even complain if I felt my rewrites fell short -- just how I am, that character flaw again....

But look, you are certainly right if you suggest to me they have done alright with the crap in there, along with the good and great -- ratings are up, and that is the big game, as we know. I would only, and I mean this very sincerely, I would only like to remind them -- constantly even, if need be -- that they could be creating great art at the same time, and yes, I absolutely do think the commerce side would hold, or even grow beyond what it has become, with consistent quality.

The day I stop shooting for that, is the day I have stopped caring about the series and these characters and good/great TV for that matter.
post #3906 of 5949
Quote:
Originally Posted by Emaych View Post


We have an intern stealing a hand which would be worthless without the ID, but she could have had that too, but anyway, she is able to sell it online, no problem. She took it because she is obsessed with the ITK, but then she wants to sell it for rent, but she is putting her job on the line, which dries everything up, including ability to pay rent, AND her CRIME is 100% going to be discovered.

I have a feeling she'll be back soon
post #3907 of 5949
Great episode, all I have to say is dogs barking

&

post #3908 of 5949
Quote:
Originally Posted by Chris3mes1 View Post

Great episode, all I have to say is dogs barking

&


ha. I also thought about that
post #3909 of 5949
^^^ Same here. The trip to Nebraska wasn't a total waste just because he didn't off Jonah (BTW, thank you writers for not putting a clip of Mitchell's crazy wife at the start of the episode... it would have made the twist reveal too obvious but it also trusts that the audience of the show remembers what that Mitchell wife and his daughter were like the couple of episodes in S4 that we saw them). Dex did kill somebody, just not who we expected. And with Rudy throwing pieces of Nick off the boat and stabbing the motel clerk (the latter panning to reveal it was Dex) we can eliminate professor Gellar lifting coffee cups or talking to Travis by cellphone as potential reality excuses. Dex's distancing from his sister continues, but the break-up of Quinn and Deb was handled beautifully (I got a little teary-eyed, it's Deborah's destiny to fall for guys she cannot go steady with for too long). And Harry waiting by Miami's city limits with a simple 'Welcome Back' was just the perfect way to end this peculiar but enjoyable one-off.

Out collective thanks to Christian Camargo for injecting the show with a much needed dose of pathos, super-dark humor ('wouldn't it have been more fun to kill her than to f*** her?') and change of pace. Now back to our regularly-scheduled season-long remake of "The Sixth Sense," "Dexter" style.
post #3910 of 5949
Quote:
Originally Posted by Young C View Post

ha. I also thought about that

+1
Very deliberate reference....
post #3911 of 5949
Road Trip!

Definitely a weird aside episode, almost like one of those 'bottle' episodes they do when they need to save money, except this one was mostly 'outside the bottle'.

Some nice scenes. Quinn and Deb was handled well. I have to say, though, I'm not crazy with the idea of Deb's character being in charge. Her character just doesn't have the weight to carry it off--she seems very unsure of herself, and even if she was, she shouldn't show it like she does. She'd get eaten alive in that job.
post #3912 of 5949
Different for sure. Knowing Rudy and Jonah would be showing up things were coming out of left field. Natural Born killers meets Physco meets the Sixth Sense meets Dexter.
post #3913 of 5949
Meant to post sooner but i really hate the fact that Showtime feels the need to BUG us in lower left of screen with ad for Homeland!
post #3914 of 5949
I too thought this was an odd one... While it had some good scenes it was one of those "throw away" episodes for me. Rudy was wasted IMO, as I thought they really could have gone somewhere with him as the "dark side" role.
post #3915 of 5949
Quote:
Originally Posted by jandron View Post

I have to say, though, I'm not crazy with the idea of Deb's character being in charge. Her character just doesn't have the weight to carry it off--she seems very unsure of herself, and even if she was, she shouldn't show it like she does. She'd get eaten alive in that job.

I've been assuming all along that her promotion was a complex office politics game. Matthews wants her to fail because that would look bad for LaGuerta, who he hates. LaGuerta wants her to fail, but understands the consequences to herself, so she's in a bind. And Matthews wins no matter what happens.

What doesn't ring true for me and is very frustrating is the way they write it so that Deb is clueless about LaGuerta. She even displays sympathy for LaGuerta ... it's just disgusting how clueless she is about human behavior, considering knowledge of same is a cop's best weapon. Making her "TV cop girl" is beneath them (the writers.)
post #3916 of 5949
IDK Deb just told Dexter that Trinity was in Nebraska, then Dexter dissapears for a few days, she didn't put that together, of course little brother was going there.. hello?

Leaving Jonah alive could be Dexter's biggest mistake perhaps? Jonah knows Dex is a killer, but did they come to an agreement? I don't tell I killed your dad if you don't tell you killed your mother?
post #3917 of 5949
Quote:
Originally Posted by fjames View Post

Matthews wants her to fail because that would look bad for LaGuerta, who he hates.

I didn't take it that way.
IMO, Matthews was just trying to take advantage of a media darling (under his command) by promoting Deb to a higher profile position, as though it had always been HIS Plan.


Quote:
What doesn't ring true for me and is very frustrating is the way they write it so that Deb is clueless about LaGuerta. She even displays sympathy for LaGuerta ... it's just disgusting how clueless she is about human behavior, considering knowledge of same is a cop's best weapon. Making her "TV cop girl" is beneath them (the writers.)

I wouldn't say she is completely clueless, more like she doesn't grasp the degree of vindictiveness in LaGuerta.
Only Angel comes to close to understanding what a POS she is....


Quote:
Originally Posted by DrLar View Post

IDK Deb just told Dexter that Trinity was in Nebraska, then Dexter dissapears for a few days, she didn't put that together, of course little brother was going there.. hello?

Maybe she does; we will find out next episode.

Quote:
Leaving Jonah alive could be Dexter's biggest mistake perhaps? Jonah knows Dex is a killer, but did they come to an agreement? I don't tell I killed your dad if you don't tell you killed your mother?

It seemed to be implied, but who knows how that will be tied up?

Jonah is a walking time bomb for Dex....no doubt there.
Maybe the guy will off himself and that will be the end of it.
post #3918 of 5949
Quote:
Originally Posted by Nuance View Post

I too thought this was an odd one... While it had some good scenes it was one of those "throw away" episodes for me. Rudy was wasted IMO, as I thought they really could have gone somewhere with him as the "dark side" role.

+1

Worse than that, this episode just came off as sort of slapdash and trite. Probably one of the worst episodes of Dexter that I can remember, filled with an unbelievable amount of stupid (I get that that was sort of the point...to make Dexter seem more impulsive/sloppy, but there's a limit). It also featured some terrible green-screen work. I thought I was watching Smallville for a second. Actually, that might be an insult to Smallville.
post #3919 of 5949
Quote:
Originally Posted by Nuance View Post

I too thought this was an odd one... While it had some good scenes it was one of those "throw away" episodes for me. Rudy was wasted IMO, as I thought they really could have gone somewhere with him as the "dark side" role.

I remember reading it was to be an episode 'For The Fans' from the writers. Rudy & Jonah tie to past seasons, etc. I didn't have much effect with me other than an old fashioned 'Dexter Of The Week' feel, if that makes sense. An odd detour.

Deb's reminder to clear the ITK murders off the board might forward her to a perilous place for Dex. How?
post #3920 of 5949
I've been trying to defend my stance that Gellar is dead and just a figment of Travis's imagination on another forum but last night when that girl said that there were two of them it sort of shot that idea all to hell. It would seem even though she were blindfolded she could sense the presence of two people.
post #3921 of 5949
Quote:
Originally Posted by mylan View Post

I've been trying to defend my stance that Gellar is dead and just a figment of Travis's imagination on another forum but last night when that girl said that there were two of them it sort of shot that idea all to hell. It would seem even though she were blindfolded she could sense the presence of two people.

I'm not sure. She seemed to imply she never heard the other one, just heard Travis addressing him. It sounded to me like both people she sensed could have just been the two sides of Travis.
post #3922 of 5949
Quote:
Originally Posted by mylan View Post

I've been trying to defend my stance that Gellar is dead and just a figment of Travis's imagination on another forum but last night when that girl said that there were two of them it sort of shot that idea all to hell. It would seem even though she were blindfolded she could sense the presence of two people.

Sort of like Brian chowing down on pizza and burgers? The assumption seems to be that a big reveal is intended, but it could just as easily be a slow reveal - huh, that guy's not real.

The big reveal will be if he IS real
post #3923 of 5949
There IS a Gellar.
The only question is whether he is alive or dead.
That's it, that's all.
post #3924 of 5949
Quote:
Originally Posted by oink View Post

There IS a Gellar.
The only question is whether he is alive or dead.
That's it, that's all.

I am sticking with him being dead.
post #3925 of 5949
Quote:
Originally Posted by oink View Post

Jonah is a walking time bomb for Dex....no doubt there.
Maybe the guy will off himself and that will be the end of it.

The same way Lumen is a time bomb. She felt too guilty to stay with Dexter. Who is to say she wont feel increased guilt to eventually confess to the authorities.

Dexter should of whacked Lumen at end of last season.
post #3926 of 5949
Quote:
Originally Posted by Emaych View Post

If only DEXTER could stay away from disastrous departures of logic and just plain weird, lazy writing, we might have something of the classic DEXTER we knew.

I wholeheartedly agree. Although, it isn't the first show to be guilty of it of a season or two of being top notch. I still enjoy DEXTER very much, but it's no longer the first show I watch on Monday night of the shows I recorded on Sunday night.

larry
post #3927 of 5949
Quote:
Originally Posted by WhereToStart View Post

I am sticking with him being dead.

In my post above I said dogs barking, I was trying not to type any spoilers for west coast folks.

In the beginning of the episode when Travis was standing at the window and I heard the dogs barking, I knew that Gellar would be standing there. I am saying he is alive
post #3928 of 5949
Quote:
Originally Posted by Chris3mes1 View Post

In my post above I said dogs barking, I was trying not to type any spoilers for west coast folks.

In the beginning of the episode when Travis was standing at the window and I heard the dogs barking, I knew that Gellar would be standing there. I am saying he is alive

Did Travis hear dogs in his mind, or were they really there? We simply can't know at this point. It's no different than the phone call to Gellar or Brian eating his lunch IMO.
post #3929 of 5949
I am getting the impression that everyone in Travis's World is Dead.
post #3930 of 5949
Quote:
Originally Posted by DNINE View Post

I am getting the impression that everyone in Travis's World is Dead.

His sister is alive..so there goes that theory
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