The T.V. series Dexter on Showtime has surpassed expectations of its producers by highlighting the character Dexter, who is both a skilled killer and a perfect psychopath. The show has become extremely popular, attracting six million viewers over eight seasons. It has also been recognized with numerous honors, including twenty-five Primetime Emmy Award nominations (with four wins) and ten Golden Globe Award nominations (with two wins).
The success of the show demonstrates America’s fascination with two types of heroes: the outlaw hero and the official hero. These heroes, as portrayed in the show, represent contrasting dynamics – challenging society versus glorifying it. Ray (378) argues that American society forms its ultimate ego identity by combining these conflicting elements, given its history of contrasts and sudden changes. However, for a show to achieve enduring popularity and eight seasons on air, it must provide more than just an interplay between these hero archetypes.
The TV show Dexter allows viewers a glimpse into the mind of a serial killer, encompassing various characteristics such as the healing myth, the outlaw hero, and the official hero, thus providing relatability. Although well-developed, these characteristics require archetypes to enhance the story’s sense of completion.
In order to support Dexter on his path, the TV show incorporates the characters of the wise old man and the good mother. During his youth, Dexter witnessed the cruel loss of his mother. She was horrifically dismembered by a chainsaw, resulting in her enduring a lengthy and excruciating death. Both Dexter and his brother were left lying in a pool of their mother’s blood, trapped inside a shipping container for forty-eight hours until Harry eventually saved them.
Harry ended up adopting Dexter, but he couldn’t adopt his brother Brian because he was too old at that time. Harry was concerned that the event had deeply affected Brian. This event, similar to the healing myth, portrays Dexter as damaged or psychologically scarred. It is this experience that leads him to become a serial killer. Both Harry and Dr. Vogel recognize that Dexter would eventually need to kill other living beings and thus provide him with a code to direct his homicidal tendencies. Harry assumes the role of the wise old mentor in Dexter’s life, possessing special knowledge and serving as a guide for the protagonist (Ray 392).
Harry dedicated a significant portion of his life to educating Dexter on how to interact with others without arousing suspicion. He imparted all his knowledge as a detective and as a human, even continuing to guide him as a manifestation of the dark passenger after his death. This entity assisted Dexter in surviving and making correct choices. Initially, the Dark Passenger referred to Dexter’s desire to kill, but eventually it evolved into a symbol for the inherent darkness within each individual that drives them to commit atrocious acts.
In her role as a female counterpart, Dr. Evelyn Vogel embodies the characteristics of the good mother archetype, renowned for her nurturing qualities and intuitive nature. This figure often provides the hero with specific objects to aid them on their journey (Ray 392). Evelyn served as the doctor who assisted Harry in developing the code and also supported Dexter in various aspects of his life.
Evelyn has always stayed in the background, unable to contact Dexter after Harry’s death. However, a single incident forced her to confront him. When he doubted her involvement in his life, she presented him with a tape of Harry and herself talking about Dexter. This occurrence solidified Evelyn’s status as the nurturing mother figure who transformed him from a shattered child into a fearless murderer.
Dexter embraces the healing myth throughout his transformative journey. His evolution is evident throughout the story, as he transitions from a psychopathic individual who had to feign casual interactions to avoid arousing suspicion. Rita, Dexter’s wife, played a significant role in his growth; despite not genuinely loving her, he displayed authentic emotions towards her. Following Rita’s passing, he withdrew from society and experienced deep emotional shutdown.
During his escape, Dexter encounters an unknown redneck who insults his deceased spouse. Driven by anger, Dexter murders him, prompting Harry, Dexter’s deceased father, to appear and acknowledge it as the first truly human action Dexter has taken since Rita’s death. Harry advises Dexter to stop evading and return to reconnect with others. This transformation echoes the concept portrayed in Linda Seger’s Healing myth, as the protagonist transitions from a fiercely independent existence towards a sense of community (391).
With the assistance of his son and Debra, Dexter gradually develops genuine emotions and falls in love with Hanna. He no longer needs to feign human interactions and can now connect with basic human feelings. Instead of his usual calmness, the audience witnesses moments of cheerfulness or gloominess in Dexter as he faces various situations. Linda Seger’s healing myth plotline is exemplified here, as we observe that the John Book in Act Three is a different person compared to the John Book in Act One (391). Ultimately, Dexter undergoes a transformation from a emotionless psychopath to a devoted father who is deeply in love and willing to do anything for his loved ones.
The American collective is attracted to Dexter’s contradictory characteristics. In the eighth season finale, Dexter chooses to depart from Miami with Hanna and Harrison in order to start a new life in Argentina. Despite his strong reluctance to leave Miami, Dexter has previously killed people who did not adhere to Harry’s code in order to protect himself. However, once he finds something other than killing to live for, he discovers the capacity to love, as seen in his relationship with Hanna. This situation perfectly exemplifies Robert B. Ray’s theory from the thematic paradigm that a single character can embody opposing traits (377).
As a psychopath, Dexter is incapable of experiencing love. However, he somehow manages to feel love for Hanna, Debra, and his son Harrison. Dexter’s love for Hanna is so strong that he desires to be with her instead of killing Saxon. Saxon is Dexter’s arch nemesis – the individual responsible for killing Vogel and posing a threat to everyone Dexter cares about. This is remarkable because killing is the only activity that provides Dexter’s life with meaning and emotions. By killing, Dexter feels empowered and in charge, doing what the police cannot do.
If there was ever an ideal illustration of an outlaw hero, Dexter embodies it. He is presented as a psychopath who lacks the capacity to experience any emotion, leaving him feeling utterly isolated. Due to this detachment from others, Dexter struggles to comprehend their thoughts, actions, and words. This aligns with the notion of “mythology of individualism,” whereby each individual is inclined to isolate themselves from the larger group (Ray 381). Dexter must feign social interactions, and he frequently expresses his “distrust of civilization” (Ray 380).
Dexter’s lack of trust in civilization stems primarily from his inability to comprehend people and emotions, as opposed to Robert B. Ray’s notion of the outlaw hero’s mistrust being associated with civilization, notably through women and marriage (380). Nonetheless, Dexter does marry Rita, thus becoming entangled in responsibilities, which aligns with Robert’s observation that American stories handle this issue by eliminating problematic women (380). Despite this, Dexter still has a child, indicating that his responsibilities are not entirely eradicated and suggesting the need for change in his life. Consequently, the potential for Dexter’s character development arises as he establishes his own set of principles and guidelines.
Dexter presents his audience with a complete ideology known as the Code of Harry, which represents a distinct set of natural laws. Created by Harry and Dr. Vogel, the Code of Harry serves as a system of principles to help Dexter direct his urge to kill. Dexter harnesses uncontrollable impulses and applies them in his daily life to fulfill his own desires while also doing some form of justice. The code serves the dual purpose of evading detection and guiding Dexter’s actions in eliminating those who deserve to die. This code embodies the American ideology mentioned by Robert B. Ray in The Thematic Paradigm, specifically the notion that “the law’s insufficiency in addressing needs that can only be sensed by the heart” (381).
Dexter works in law enforcement, witnessing the injustices that occur when criminals exploit legal loopholes and murderers manage to evade punishment. However, Dexter ensures that no one escapes justice – he is determined to apprehend those who have eluded the system and ensure they are permanently dealt with. According to Robert B. Ray, this narrative portrays all outlaws as modern-day Robin Hoods who rectify unjust laws (381). It is evident that the American justice system is flawed, so when individuals receive their deserved retribution, society tends to idealize it. However, there are instances when the American audience wants to witness justice prevail, and this is when the official hero steps in.
Dexter’s foster-sister, Debra Morgan, embodies the commendable hero through her actions and motives. Inspired by her father, Debra has harbored a lifelong aspiration to become a homicide detective. With unwavering commitment and personal sacrifice, she not only achieved this objective but ascended to the esteemed position of lieutenant within the Miami police department.
According to Robert B. Ray, the official hero must be willing to undertake public duties that require personal sacrifice. Joining law enforcement is a prime example of such sacrifice. Debra initially found joy and fulfillment in her role as a homicide detective, fulfilling her dream of solving crimes and apprehending criminals. At first, she declined a promotion to remain in the field. However, she eventually recognized that as a lieutenant, she could have an even greater positive impact than as a detective. Despite sacrificing many things and occasionally longing for the excitement of being out in the field again, she accepted the promotion. There were times when she yearned to return to “sitting at a desk doing paperwork and dealing with all this bureaucratic bull shit” (Smokey and the Bandit).
The position of lieutenant holds significant importance in the law enforcement hierarchy and symbolizes the essence of law. As expressed by Ray in The Thematic Paradigm, the unofficial motto of the heroic figure is that no one is above the law (382). Debra Morgan truly embodies this motto, showcasing her exceptional detective skills and consistently trailing just behind her brother in discovering crucial clues. This has led the homicide department to success on numerous occasions, albeit unintentionally bringing her dangerously close to apprehending her own brother. It is due to her countless acts of selflessness that she has risen to the rank of Lieutenant in the Homicide division. However, after learning that her brother is a serial killer, Debra’s moral compass was profoundly shaken.
The TV show Dexter demonstrates that the American audience has a penchant for witnessing a fusion of the official hero and the outlaw hero embodied in each character. The traditional representations of these archetypes have become obsolete, as Dexter and Debra epitomize the most dysfunctional forms of heroes ever presented on national television.
Though Dexter is a psychopath, he defies Ray’s belief that women should be avoided, by developing feelings and falling in love with Hanna. In contrast, Debra, who is seen as the hero, chooses to kill Capitan Maria LaGuerta to protect her brother. Ray states that movies often depict the traditional dichotomy between individual and community, which generate competing myths.
Dexter exemplifies the desire in American culture for a balance between conflicting myths, rather than solely embracing one particular myth. Despite the disorder, Dexter and Debra harmonize with each other and collaborate like yin and yang to catch offenders. Similar to the yin and yang principle, they illustrate that there cannot exist brightness without darkness, and even in the most obscure corners, there is always a flicker of light. The show’s triumph can be credited to this portrayal of harmony.
Dexter taps into American sensibilities by weaving together elements of the healing myth, the outlaw hero, and the official hero. The show’s immense popularity serves as evidence that Americans yearn for a mythical narrative in their entertainment. Over centuries of tumultuous transformations, the nation developed a fascination for both rebellious outlaws and esteemed symbols of authority. However, with extended periods of stability and harmonious relations between the government and its citizens, Americans have seemingly overlooked the profound impact of those past disruptions.
Dexter exemplifies the ongoing transformation in America, where there is a shift towards a peaceful coexistence between outlaws and official heroes, rather than a direct clash. However, some shows still portray an adversarial mythology between the two. Nonetheless, change is inevitable and it is likely that Hollywood cinematography will increasingly reflect this transformation in the near future.
Work Cited
- “Dexter (TV Series).” Wikipedia. Wikimedia Foundation, 10 Jan. 2013. Web. 02 Oct. 2013. .
- “Smokey and the Bandit.” Dexter: The Complete Series Collection. Writ. Paramount Studios, 2013. DVD.
- Sonia Maasik and Jack Solomon. Signs of Life in the U.S.A. Boston, New York: Bedford/St.Martin’s, 2012. Print.
