Dexter: New Blood, the review of the finale: The sins of the fathers

Our review of the finale of Dexter: New Blood (episode 1×10), on January 12 on Sky Atlantic and NOW, which closes the circle not only of the revival but also of the original series, giving a worthy, sad, melancholy, inevitable conclusion to the series killer of serial killers.

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I’m not like you, I wanted so much to be, but my anger isn’t because I’m like you, it’s because of you

Dexter: New Blood – a scene from the series

The ending of Dexter: New Blood could only begin (and end) with a very poetic bird’s-eye view, showing a person, or a pick-up truck, in the snow from the evocative snowy landscape of the seemingly peaceful village of Iron Lake. , intent to move, or motionless, while the blood gushes copiously, red on white. Don’t worry: this one review of the ending of Dexter: New Blood (episode 1×10), January 12 on Sky Atlantic e NOW, will be spoiler-free, as always done so far, but will testify how this sequel has done a small miracle of seriality.

Close a story

You don’t care about saving anyone, you’re just feeding the dark passenger. And he’s not even a passenger, he’s behind the wheel! And you love it!

Dexter New Blood 1X10 Julia Jones Alano Miller

Dexter: New Blood, Julia Jones and Alano Miller in an ending scene

Clyde Phillips, creator and showrunner of the first four seasons of the original Dexter series had returned to the reins of this revival, slyly titled Dexter: New Blood, while shedding far less blood than the original, with the aim of giving a worthy conclusion to that. that almost unanimously had been considered a last season and an ending inadequate and disrespectful of what the mother series had represented. We say it immediately: just as with Damon Lindelof with the series taken from Watchmen he managed to make a vademecum of how a sequel should be made with unreleased material and invented ad hoc from the starting one, with this revival Phillips has incredibly managed to show how to restore and worthily close a historical series, as important and iconic as the one dedicated to Dexter Morgan, let’s not forget it adapted from the novel by Jeff Lindsay, always inventing from scratch. No one could have imagined it at the announcement of this show, in the chaos of sequels / reboots / revivals of glories of the past often fished out without a true narrative intent and purpose, and instead here we are, surprised and ecstatic ten episodes later, praising the work done by the writing team.

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Dexter New Blood 1X10 Michael C Hall Jack Alcott

Dexter: New Blood, Michael C. Hall and Jack Alcott in an ending scene

Dexter: New Blood has managed to combine old and new in the story told, pay homage to the past without falling into the nostalgia effect and not go too far towards the new and the unexplored, betraying the core of the serial. He did so with various horizontal stories that eventually became one, rather than opting for new “episode cases”, and still managing to get to the final confrontation with an unreleased serial killer. This new series has managed to build its own identity while maintaining, indeed rebuilding since it was lost, the atmosphere and narrative tension that had made the fortune of the original show. An identity that is also chromatic in the photography of those who clash (like the white and red of before) choosing ad hoc an evocative landscape like the mountain of Iron Lake, in spite of the sunny Miami, in homage to the “Dex lumberjack” of the last series finale.

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An identity in some directorial choices with tight editing to increase the narrative tension, alternating with extended long shots and close-ups to stop for a moment to dig into the soul of the characters. One of the most touching sequences of this ending is when we see Dexter, unlike in the past, rethinking his victims, but not those who “deserved it”, the serial killers, but those who had to succumb to his instinct for self-preservation even though being innocent. The discourse of survival, prey and predator returns, with our anti-hero willing to do “whatever is necessary” to avoid getting caught (first rule of the Code), to escape once again, far away, forgetting everything and everyone, as a true sociopath who cannot have genuine emotions.

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Final clash

He will always be my phantom limb

Dexter New Blood 1X10 David Zayas

Dexter: New Blood, David Mayas in una scena del finale

A clash – which could only be called “The sins of the father” for the ancestral sins speech already done previously – tripled three times, because after the showdown with Kurt (Clancy Brown) in the ninth episode, now Dexter-non- plus – Jim (Michael C. Hall) is confronted first with Angela (Julia Jones) and then with his newfound son Harrison (Jack Alcott). The three performers offer truly touching and moving interpretations in depicting all the facets of feelings that their characters are forced to feel in this series finale, given the increasingly precipitous situation and the ever closer epilogue. Epilogue that cannot be joyful, it is still a drama and not a fairy tale, but the opposite, almost a nightmare that comes true and comes to life. And in this final poetic account, complete with Dex’s voiceover to guide us one last time through his darkest and most lucid thoughts, someone will succumb, after the consequences of the arson at Jim Lindsay’s house, as it ended last year. bet. A sad and melancholy ending (also witnessed by a guest star who returns from the original series, perhaps in a somewhat forced way) but which at the same time embraces a shred of hope for the future of the protagonists, who can find peace. All the protagonists are divided by their dual nature (primarily Dex and Harrison), and Angela is instead torn between following her own instincts or believing in Jim’s story. Will Dexter be able to get away with it once again? How does the dark passenger get back to sleep?

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It’s a small miracle this review of the ending of Dexter: New Blood (episode 1×10) because so is this revival of Dexter, who has traveled between past and present and now tries to look to the future, giving a sad and inevitable ending to the story of the serial killer of serial killers, which closes a circle that can only be in the blood, between sadness and melancholy.

Because we like it

  • The collision of the past of the original series and the present of the revival, with a wink to the future.
  • The touching and intense interpretations and comparisons of Michael C. Hall, Jack Alcott and Julia Jones.
  • Having closed with an epilogue consistent with the spirit of the original series.

What’s wrong

  • After giving us pearls in the last few episodes, Deb should have been more present and exploited in this ending for a showdown also mental of Dex.
  • Some developments such as the presence of an old glory are a bit forced.

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