While Dexter provides a seductive enough surface, it doesn't lose sight of the ugliness "deep inside."


Airtime: Sundays, 10pm ET
Cast: Michael C. Hall, Jennifer Carpenter, Erik King, David Zayas, Julie Benz, Lauren Velez, James Remar, C.S. Lee
MPAA rating: N/A
Subtitle: Season One First Three
Network: Showtime
US release date: 2006-10-01

"People fake a lot of human interactions," observes Dexter (Michael C. Hall). "But I fake them all, and I fake them very well. And that's my burden, I guess." At the start of Showtime's Dexter, in the pilot episode also called "Dexter," the titular hero spent some time explaining himself. His voiceover was mostly smooth and arid, observing as if from a distance. He was killing someone.

He kills a lot of people. Dexter's a serial killer. "I don't know what made me the way I am," he says as the scene cuts to Dexter on his boat, the Slice of Life. "But whatever it was left a hollow place inside." Indeed. This apparent lack -- of affect or ethics -- doesn't much trouble Dexter. Based on the protagonist of Jeff Lindsay's crime novels, he's as nasty and unfeeling as any serial killer you've seen in a movie, and as "normal" in his appearance. A symptom and a scourge, he's clichéd as well as chilling.

He lives according to the "Code of Harry," that is, the set of rules for killing set out by his father (James Remar), a cop who recognized in his young adopted son a peculiar cruelty, coldness, and aptitude for killing. This recognition appeared repeatedly in flashbacks during the first three episodes (the first two directed by Michael Cuesta, who also directed episodes for Six Feet Under, as well as the films L.I.E. and Twelve and Holding). When Harry asked little Dexter (Dominic Janes) why he killed the family dog, the boy had a rationale ("That dog was a noisy little creep, dad"), but that wasn't the reason. The child was already beginning to explore his interest in blood and corpses, and dad recognized it: "There were a lot of bones in there, Dexter, and not just Buddy's." Still, he decided to "channel" his son's energies rather than lock him away. Realizing that he had been damaged somehow before arriving at his adoptive family's doorstep, Harry worked with him, gave him a sense of "calling" and belief in vigilante justice, as well as instruction in forensics, so that he would never be caught. And so, Dexter noted, "I'm a very neat monster."

Dexter the adult puts his instruction (and other training) to use in his day job, as a blood splatter analyst for the Miami PD. It is, he noted in the pilot episode, the ideal job for him: "There's something strange and disarming about looking at a homicide scene in the daylight of Miami." This as he approached a scene under heat of the sun, bright blue sky booming over him. "It makes the most grotesque killings look staged, like you're in a new and daring section of Disneyland. Dahmerland." Dexter's sense of detachment allows a sense of humor, and this makes him seem cute, charming, even vulnerable.

His stepsister Deb (Jennifer Carpenter) also works for the Miami PD: at the start of "Dexter," she was on the vice squad, dressed up for her undercover gig as a prostitute, meeting Dex at a crime scene to go over clues and possible solutions. She pressed him for answers, using her brother's oddly acute insights into the criminal mind ("You get these hunches, you know, with these types of murder") in order to pursue her own career: she wanted out of vice and into homicide, and felt stifled by her competitive superior, Lt. Maria Laguerta (Lauren Velez). If she could solve a big case, Deb figured, she'd be able to move on despite Maria's reluctance to promote her.

Dex appreciates Deb's sisterly affection, even if he can't quite return in kind: "She's the only person in the world who loves me," he said when he heard her pleading to come to the crime scene, "pretty please with cheese on top": "I think that's nice. I don't have feelings about anything, but if I could have feelings at all, I'd have them for Deb." This wasn't precisely reassuring, but it demonstrated how Dex functions as a protagonist. While he is plainly reprehensible in every way, he is also self-aware enough and beloved by characters you might like -- like Deb and his girlfriend Rita (Julie Benz) -- in order that you can read his depravity as vaguely comic or quirky. He knows he's a monster, and so he's entertaining.

By night, Dexter says, he kills only those who deserve it. So far, he has apparently been scrupulous and so, correct, in his assessments. More than once during the first three episodes -- the second and third titled "Crocodile" and "Popping Cherry" -- a few deft keystrokes repeatedly produced all the information he needed to "know" his next victim had killed children or other "innocent victims." He likes to scope his prey in a downtown courtroom, where he watched culprits elude punishment on technicalities or because they performed well on the stand. He watches the victims, coolly ("On some level I even understand their pain, I just can't feel their pain"), while plotting his vengeance that's really fulfilling his own dread disease. Following an acquittal, Dexter sets to work. And following each kill, he stows away his souvenir, a blood smear on a slide, carefully noted and filed, hidden away inside his air conditioner. He sees his sickness, but justifies it. "Blood," he noted in the pilot, "Sometimes it sets my teeth on edge, other times it helps me control the chaos."

That Dexter also embodies chaos is the series' primary joke and its political and cultural critique. He is the system that so badly fails every day to prevent crime or capture odious creatures because it is so busy attending to codes and/or corruption of same. In this context, Dexter's incessant self-study serves thematic as well as plot purposes. As he digs into himself, his memories and his motives, he signifies strategies of investigation that regularly leave open his own options. He does the work regular cops can't, as he has no need of warrants or legal justifications. He only performs, again and again, the labor of the vigilante. Only he does it while looking after Rita's young kids when she's unable to, appreciating her inability to have sex (her crack addict ex used to rape her, and for Dexter, "The actual act of sex it always just seems so... undignified"), and helping his sister to achieve her career goals.

His associates on the job -- Vince (C.S. Lee), Angel (David Zayas), and Sergeant Doakes (Erik King) -- provide perspective on Dexter, as well as some literal "color" for the show. But this familiar tack of including non-white characters to swirl around a white protagonist takes on a peculiar dimension here, as Dexter is quite appallingly "white," in his sense of entitlement, in his "serial killer" typicality, in his "bloodless" cruelty. The fact that Dexter is so ghastly white, however, gives this casting some new dimension. Each established his own investment in the job, emotional, economic, and scientific (Angel's included resentment at the untoward hours of the job, as indicated by his entertainingly low-key rant at a crime scene: "I'm talking about this hijo de puta, this asshole killer, this maricon savage who makes us work on a Friday night"). None, save for Doakes, appeared to suspect Dexter's avocation. "Give me your fucking analysis," he demanded, calling Dexter a "fucking weirdo" and breaking his reverie about the bloodless body he'd just seen. As Dexter observed, it was odd that in a room full of homicide experts and super-trained detectives, Doakes ("I'm watching you, motherfucker!") is, as Dexter noted, "the only one who gets the creeps from me."

Over the first three episodes, Dexter generated all kinds of "creeps," whether or not those around him noticed. He also found what appears to be the season's long-form storyline, in his enchantment by a killer who seems to know him, to appreciate and cater to his particular sensibilities. This killer leaves his bodies utterly drained of blood, and so piqued Dexter's interest instantly. "Why hadn't I thought of that, no blood?" he muttered while surveying a corpse deposited in an empty swimming pool, ghastly white and cut into sections. Dexter was impressed: "I'd never seen such clean, dry, neat-looking dead flesh."

The killer now pursues Dexter as he pursues the killer, with weekly diversions offered by other prey (a teen just out of jail who seemed destined to become a serial killer, a sadistic rapist). Dexter was shaken when he misjudged one case, missing the sign that the killer was, potentially, like him, that is, a killer of someone who deserved it. As Harry said in flashback, such urge to make order of chaos is "not about vengeance, it's not about retaliation or balancing the books. It's about something deep inside."

While Dexter provides a seductive enough surface, it doesn't lose sight of the ugliness "deep inside." No matter how Harry or Dexter might dress up the justification for what he does, he is, in his killing room, brutal and gruesome. "Harry taught me," he said in "Popping Cherry," that "Death isn’t the end, it was the beginning of a chain." That would be consequences and effects.


Spawning Ground

David Antrobus

In this ancient place of giant ferns and cedars, it seems the dead outnumber the living; the living fall away too quietly, too easily, taken away by stealth. There is tremendous natural beauty here, but its hold is tenuous, like moss clinging to rotting bark that will ultimately break and sink into the forest floor.

If I were to choose a visual symbol of my adopted home of Mission, an average-size town in the impossibly green western Canadian province of British Columbia, I would probably come up with a rotting carcass in a verdant pasture, a vision of death amid life. If this sounds harsh, hear me out and I'll tell my own truth about this place.

Clinging to the swift-scoured, salmon-haunted northern bank of the mighty Fraser River like an ailing lamprey to the deadly smooth flank of a Great White, this town, situated about 70 kilometers east of Vancouver, owes its entire existence to the water of its rivers and lakes, and to the wood harvested from the dense, surrounding forest. Settled in the mid-19th century, Mission has managed to survive despite two serious floods, a bridge collapse, the ominous early signs of malaise in the natural resource sector (did we really think the salmon and the great conifers were infinitely, magically renewable?), and a general reputation for unfocussed, redneck belligerence.

It all comes down to the Fraser River. The river has brought both food and trade; it provides a thoroughfare upon which the people of Mission (among others) float the great log booms that are the defeated renderings we humans fashion from the vast tracts of coastal rainforest (cedar, spruce, fir, hemlock) in our seemingly inexhaustible compulsion to exploit her resources and bring Mother Nature to her matronly knees — in part because (we believe) we can.

But the details about life in this town — the jeweler murdered in a robbery, the pretty high school graduate killed by a drunk driver, the 14-year-old suicide — in fact, all the jostling narratives crowding like paparazzi, each insisting on exclusive front page drama, bubble and coalesce and ultimately conspire to reveal the hidden Mission. There is a dark vortex lurking beneath the seemingly placid surface; the ominous shadow of something ancient beneath sun-dappled waters. Even the countless apparent banalities playing out on the town's rural borders disguise something deeper, more clandestine: the hobby farmer up in MacConnell Creek bemoaning his exhausted well; the entrepreneur hungry for an investment opportunity, eager to transform the hillsides of quiet, bucolic Silverdale into sudden, lockstep suburbia; the hiker mauled by a black bear in the mountains north of Steelhead. And always, the numerous lives derailed by marijuana grow-op busts. For all the gradual liberalisation of laws at the consumer end of this local economic rival to wood and water, those who supply the celebrated crop usually feel the full force of Canadian justice, anyway. There are times when nothing in Mission seems devoid of some kind of meaning.

A monastery sits above this town, a Benedictine haven of alternating silence and the evocative clatter of Sunday Matins bells. Its tower is phallic and disproportionately defiant, rising above the landscape like a giant darning needle, casting its intrusive shadow over the patchwork quilt of human settlement as if to stitch a final tableaux, symbolically and definitively, of the history of the original inhabitants and their mistreatment at the hands of the white settlers. Said inhabitants were (and are) the Stó:lo people (their language, Halq'eméylem, was an exclusively oral tradition, so the words are spelled phonetically nowadays). Stó:lo territory stretched along the river valley from present-day Vancouver to Yale in the Fraser Canyon, a 170 kilometer swath of virgin, fecund land, teeming with such totemic creatures as salmon, ancient sturgeon, deer, black bear, cougar, coyote, beaver, and wolf.

The Stó:lo, a Native American (or First Nations) people belonging to the larger group of Central Coast Salish, settled this area around 10,000 years ago. Europeans, attracted by rumours of gold, arrived in the 1850s. The resulting clash of cultures did not work out well for the indigenous people, and today they are still recovering from the trickle-down effects of at least one generation having been torn from its extended family. Residential schools, for which the monastery in Mission is a present-day symbol, were sites of a particularly virulent form of cultural genocide. First Nations children across Canada were taken from their homes, often exposed to physical and sexual abuse and occasionally murder, their mouths scoured with soap if they even dared to utter their own languages. St. Mary's in Mission, founded in 1861 and relinquished in 1984, was the last residential school in Canada to close.

There are 82 Indian Reserves in the Fraser Valley. There are eight correctional institutions, two in Mission alone (Aboriginal people represent around four percent of the Canadian population, yet account for 18 percent of the federally incarcerated population). Somebody — something? — really likes to control and segregate people, around here.

This fragmentation is reflected in the odd demographics of the town in general. Leaving their multicultural mark have been, at various times, Italians in Silverdale, Swedes in Silverhill, the French in Durieu, the Japanese in the early years of the fruit industry (as in the US, the Japanese were rewarded for their labours by being sent to internment camps in 1942), and immigrants from India in the early days of the shake and shingle mills. (The Western Red Cedar, with its straight grain, durability, and imperviousness to the incessant rain, while inspiring Native culture with the quixotic grandeur of totem poles, grabbed more prosaic European imaginations in the form of the shake and shingle industry, which provides reliable roofing and siding components for homes.)

In some ways, Mission is a vibrantly conflicted example of Canada's multicultural mosaic. With just over 30,000 residents (of which 3,000 are First Nations) mostly crammed into a relatively small area, bordered by the river to the south and the mountains to the north, mill workers and biker gangs, artists and Mennonites, muscle car boys and summer folkies, soccer moms and Sikh Temple-goers, merchants and pagans, Freemasons and caffeine addicts, street people and Renaissance Faire anachronisms all rub shoulders with varying degrees of friction, occasionally achieving harmony in spite of themselves. Perhaps the relative accord is due to the overall youth of the population (73 percent are under 35-years-old).

Earlier, I mentioned the presence of death. Why? Because it is everywhere here, its proximity eerily palpable. It inhabits the sly rustle of the towering conifers. It taints the air with the swampy pungency of skunk cabbage in springtime. It hums incessantly in the sub-woofer buzz of the hydroelectric dams. It shuffles along in the downcast, scuff-shoed limp of a lone child returning to a chilly home. From a distance, even the monks in their dark cassocks, knit-browed and bound by their vows of silence, seem eerily close to the Reaper caricature. For actual evidence of its pervasiveness, though, one need not go far back in time.

The bodies of three women were dumped between here and neighbouring Agassiz back in '95. Suicides and the furtive aftermath of murder, barely registering in the town at all, have spattered Burma Road, a potholed strip of rocks and dirt skirting the shore of Stave Lake. In 1997, Doug Holtam of Silverdale (a small community west of Mission) bludgeoned his pregnant wife and six-year-old daughter to death with a hammer. Against all odds, his young son Cody survived the attack. In 1995, a drunk driver, leaving in his wake not only the proverbial outpouring of community grief but also a devastated twin sister, killed 18-year-old Cindy Verhulst during the week she and her peers were busy celebrating their high school graduation. There was the little boy who slipped away from his day care centre and drowned in the swollen Fraser River. The 12-year-old boy found hanging from a school washroom towel dispenser. The elderly pilot whose body was discovered in dense forest a full two years after he had gone missing. And there was Dawn-Marie Wesley, a 14-year-old Native girl who took her own life in the basement of her home after enduring relentless bullying at school; barely noticed in life, Oprah material in death.

As disturbing and tragic as these stories are, however, there was little precedent for the breaking news in the summer of 2003. This one will need a little background.

Since the mid-'80s, women have been disappearing from Vancouver's Downtown Eastside, Canada's poorest postal code. Partly due to the initial incompetence of the Vancouver Police Department and jurisdictional issues with the Royal Canadian Mounted Police (RCMP), partly due to the amorphous (read: investigative nightmare) nature of the disappearances, and partly because so few people cared about missing hookers and addicts, more and more women went missing, with nary a ripple in the public consciousness (or conscience). In fact, as of this writing, a horrifying total of 65 individuals are currently on the Missing Women list. For years, law enforcement didn't even refer to their disappearance as crimes, and it wasn't until 1998 that an official task force was even assigned to investigate.

Finally, in February 2002, Robert William Pickton, a pig farmer from the Vancouver suburb of Port Coquitlam (approximately half way between Vancouver and Mission), was charged with two counts of first-degree murder of two of the missing women. More charges followed in the months ahead. Pickton currently faces 15 counts of first-degree murder with seven more expected. DNA samples of 31 women have been linked to his 10-acre farm. In short, potentially the largest serial murder case in Canadian history is now underway just 35 kilometers from Mission.

Given the frequent intrusion of death into the area, I suppose it should have surprised no one when, on 20 July 2003, the missing women's joint task force announced they would be searching an area of wetlands near Mission. Just south of Highway 7 (aka the Lougheed Highway) and the man-made body of water known as Silvermere (itself the subject of a delightfully creepy urban legend or two), the area is basically marshland bisected by a meandering slough. Immediately following the announcement of the search, the site was fenced off with temporary chain link, and the highway's wide shoulders — traditionally home to roadside fruit and flower vendors hawking their locally grown products — were suddenly and unequivocally off-limits.

Driving this formerly innocuous stretch of blacktop, especially under the after-dusk arc lights, with their swirling bug armadas and liquid island oases in the dark, now touched off an indescribably eerie feeling. It was a relief when, on 8 August, the entire ensemble of law enforcement personnel (numerous forensic investigators plus 52 anthropologists) took up their tools again and vanished. They gave no word of what they had uncovered or even whether anything had been found at all, leaving our community to its familiar, fitful dreams once more. Mission's part in this unfolding story, as it relates to the wider world, remains amorphous and indistinct, with its usual chilly glints of barely suppressed horror flickering amid the overall grey.

Here, it seems, empirical proof takes a back seat to rumour and anecdote every time.

Sometimes, while hiking alone in the tree-bejeweled mountains west of Steelhead, east of the dams, I have suddenly felt the fetid breath of graves, a harsh raven-shadow lurking behind the abundant emerald and olive greens of this sodden paradise. Inexplicable noises in the deep tangled brush; distant rending, gnashing. Something skulking and hungry. With all the assured rationality of the white male immigrant, I've been known to smirk at the idea of ghosts, and yet stumbling along a jade-tunnel trail bristling with old man's beard and devil's club, I've occasionally recoiled from something, the skin of my arms prickling with gooseflesh. There are spirits here, all right, something not too far removed from the capricious tricksters who inhabit indigenous myth. Spectres of a kind, nursing some nameless, hollow ache of unrequited need rendered manifest, paradoxically, by a landscape dripping with life.

The closest we Europeans get to perceiving this (however inadvertently) can be heard in the low extended rumble of the nighttime freight trains as they call out in the dark, hunching parallel to Railway Avenue long after most residents are asleep, lonely as a buffalo herd that's somehow seen and almost comprehended its own approaching ruin.

Of course, my telling is by no means the complete, illustrated history of Mission, a town that can barely hold onto its own name (since 1884, take your pick: St. Mary's Mission, Mission Junction, Mission City, Village of Mission, Town of Mission, and currently the District of Mission). Not by a long shot; this lurid splash portrays but a small corner of the canvas. How can any one person paint the full picture of a community, after all? No, despite my perverse zeal to stir the viscous mud below the bright surface, great deeds and happy memories adorn the history of this place, too, adding the sparkle and lustre of life above and hopefully beyond the stillness and silence. And yet, no matter how much joie de vivre this community may exhibit on its special days, like a red-carpet celebrity when the cameras start rolling — whether it be the laughing children with their maple leaf flags and pancake stacks celebrating Canada Day up at Heritage Park, or the benevolently stoned crowd at the annual Folk Festival, or even the choked air and sharp adrenaline at the Raceway — surely one thing cannot go unremarked: nearly half of those missing-presumed-dead women were of Aboriginal descent. This adds one more layer of indifference to a jaded populace apparently caught somewhere between the small town rural cruelties of its past and the uneasy suburban shrugs of its gathering future.

I know this. I worked with the street kid population here for years, witnessed their hardscrabble resilience. Few people ever gave a genuine damn about the plight of these children, even though some of the throwaways had not yet reached puberty. Two-thirds of street-involved youth in Mission are Aboriginal. Many are sexually exploited by family members, neighbors, pimps and selected citizens, but few speak of it. Some of these kids head west to Vancouver for a date with misery, stretching already tenuous community ties to the breaking point. My job as a street worker was to speak for these lost children, to ensure some semblance of the child welfare system would kick in through advocacy with social workers or teachers or families or counselors or probation officers. In a world in which the so-called "bottom line" — money and the politics of money — has become drawn too garishly, these already marginalized youth were, and continue to be, largely abandoned by a system designed to protect them. Sometimes I stand beside the town's failing heart, its run down main drag (1st Avenue), taking in the pawnshops and thrift outlets and dollar stores, and I'm convinced I truly hate this place... but only because I've loved it so deeply. In life: death. In death: life. The great inscrutable cycle.

In this way, the perennially troubled summer Pow Wow, always skirting the edge of ruin (corrupt, inept politics and sporadic funding, take a bow), yet often prevailing regardless, seems to me a far more accurate symbol of the clutching, ragged breaths that secretly haunt the sleep of this community. The fleeting vibrant colours of traditional dancers whirling in bright regalia — poignant as the plumage of endangered birds, flying amongst the high wailing melismas of the Northern-style singing and the vital, aorta-punching drums of the circles — somehow speaks more of an unavenged wound in time and place, set amid the cruelty that underlies so much beauty, than anything else this conflicted human settlement seems capable of offering.

An absurd contrast, really — this vibrant gathering and the judgmental silence of all those surrounding stories of the dead — the whole place holding its breath waiting for these mortal sorrows to purge themselves before the pristine lawns and asphalt and vinyl sidings are allowed to spread and eventually suffocate every fucking thing that ever felt like something here.

For here, tenacious as the town itself alongside relentless churning waters, the living will no doubt cling to hope and the perpetual dream of life until the muscled river — unnoticed, stealthy, taken for granted — wrestles away everything (horror, joy, splintered wood and the final word) at long last, sending it all tumbling toward the planet's dark and pitiless seas for good.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

Keep reading... Show less

Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.