EDITOR’S NOTE: This recap contains spoilers for “Dexter” season six, episode three; read at your own risk.
By Ian Grey
Press Play Contributor
Good news from Miami: Dexter is finally behaving like Dexter again.
The ceaseless theological table setting is done, gone. The characters are acting as if they remember who they’ve been for five seasons, or taking steps in other directions that connect with their history. Yes, we still have to endure the irritating presence of Ryan (Brea Grant), a squinty Manic Pixie who stops the show dead in its tracks in every scene that she blights. And yes, the show hasn’t quite found a unifying tone to reconcile its wildly contrasting elements — Jesus freak Grand Guignol, salsa soundtrack cues, class redemption stories, pre-mid-life anxiety attacks, telenovela-like melodramatics — but now I want to trust that all of it will be smoothed over. With its third episode this season, “Smokey and the Bandit“, the show has reclaimed some of its Gothic texture, with a literally darker image, while cordoning the ill-advised “zany” humor to a single bit of golfing goofiness (don’t ask). And our favorite mordantly detached observer of human foibles is back, if not at full force, at least in three-quarter sail.
Before we get on with recapping proper, I want to note that Mos Def’s Brother Sam — who, if you don’t mind, I’m shortening to B-Sam — is a terrific addition to the show. Everything he says has a fascinating attitude of deference — to God, to some dark place in himself, perhaps to Dexter’s Dark Passenger, you never know. He’s like somebody whispering the cure to your diagnosis; it’s only natural to lean forward a bit to find out what the deal is. And Dexter (Michael C. Hall) is very, very interested, because B-Sam’s whisper-stream has to do with being recovered from the absolute dark of life-taking.
You can read the rest of Ian’s piece here at Salon.
Ian Grey has written, co-written or been a contributor to books on cinema, fine art, fashion, identity politics, music and tragedy. His column “Grey Matters” runs every week at Press Play. To read another piece about Drive, with analysis of common themes and images in all of Refn’s films, click here.