(http://dexter.wikia.com)
- Also Known As:
- Unknown
- Version:
- needed to precede following dl
- Languages:
- Length:
- 626 minutes (Uncut)
- Review Format:
- DVD
- Year:
- 2006
- Country:
- Predominant Genre:
- Crime
- Directors:
- Outstanding Performances:
- Premiss:
- Police forensics expert moonlights as a serial killer of those he believes have escaped justice.
- Themes:
- Alienation | Coming-of-age | Curative | Destiny | Family | Identity | Materialism | Political | Role modeling | Society | Solipsism | Stereotyping | Totalitarianism | Western world | White culture | White people | White supremacy
- Similar to:
Caucasians playing god
Black comedy about the White tendency of trying to make their character fit their persona – in hopes of making their personae fit their characters. Whites are easy to understand because they are constantly trying to look like the Whites in their advertisements and commercials, rather than like those actually existing in their own hearts & minds.
In this tv show, psychopathy is a well-chosen metaphor for the White social fakery inspired by endemic dreams of White supremacy and Manifest Destiny. All of the White characters here are emotionally stultified by the fear of being found-out and placed under arrest – the only human warmth emanating from the Hispanic performers.
To protect the psychopathic son from discovery, his father (superbly-played by James REMAR), tells him to closely-observe and to copy the behavior of other Whites – but never that of any other ethnic group. This is to try and provide him with the social camouflage necessary for survival in a dog-eat-dog; every-man-for-himself White culture.
Inevitably, this perverse socialization turns him into the kind of dissembling social puppet one commonly sees among White people in real-life. This helps explain why Whites have such difficulty preventing and/or convicting criminal psychopaths, since Whites so closely resemble the non-criminal ones, because of their generalized emotional invisibility
within White culture – in stark contrast to their being more obvious-to-the-eye within other ethnic social milieu.
Whites are perpetually-confused about whom other people really are because Whites lack any true sense of who they, themselves, really are. White culture is propagandist rather than realist and, therefore, it-takes-one-to-know-one rarely applies among Whites, since their self-ignorance means they can never be truly sure if any other White is truly like them.
Only the serial killers shown here are able to recognize their own kind – along with each other’s moral emptiness – pretty quickly. This fear-of-the-unknown makes Whites so scared of each other, that it is easy for them to imagine the worst in others (as this drama’s use of the psychopathy metaphor clearly implies) rather than Whites honestly-seeking and realistically-seeing the truth about human nature.
While the unlikely story and plotting makes this drama bearable for anthropologists and satirists, the writers are unable to explain how the lead character is not a prime suspect in his own guiltless murders that are being investigated by the police department for which he works. Yet, we see an accurate depiction of the moral autism inherent in psychopaths in his following a fairly-rigid, emotionally-dissociated & easily-discernible pattern of murderous ritual each time he kills. And worse, he often suffers from an inability to clearly-intuit whom another killer is, if they ever meet, which violates the intrinsic birds-of-a-feather, flock-together theme of the show.
The ultimate psychological and somatic implausibility of this drama is not only a mask for the obvious dramatic problem that few audience members can empathize (or ever admit to empathizing) with a psychopath, but also for its totalitarian obsession with extra-judicial vengeance. This is Hollywood and the White man’s eternal pre-occupation, given that most crimes in the West go unsolved and that most are committed by White people. This desperate moral evasion attempts to:
- Suggest why psychopaths are harder to see among the Whites they mimic (& actually resemble);
- compensate for White men’s self-willed lack of self-knowledge;
- explain why Whites find themselves – and each other – so mysterious; &,
- scapegoat psychopaths as a cause of the existential despair inherent in White culture by conflating them with sociopaths – whom are really the result of such despair.
Despite the psychological dishonesty, this drama is darkly funny. And, as usual with Jewish-funded tv, POC are poorly-sketched, psychologically, while the White characters are as fully-fledged as the mediocre writers can make them; while still lacking the emotional depth that would make them careworthy.
These dramaturgical problems are unsuccessfully-hidden behind perfunctory swearing and pointless gore; adding little to the unfolding drama. An in-depth exploration of the difference between psychopathy and sociopathy would have been a more-than-welcome distraction from the unempathetic oddity of this well-meaning-but-illogical drama about White people’s lack of empathy for anyone else.
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