A seemingly immortal killer strikes every nine years with signature markings on the neck.
In 1988, Philadelphia Police Officer Thomas Lockhart (Boyd Holbrook) and his partner Maddox (Bokeem Woodbine) are investigating a series of deaths. The victims appear to have died of blood loss and are found with strange holes on their necks. Lockhart’s brother-in-law Detective Holt (Michael C. Hall) leads the investigation. As Lockhart confronts the suspected killer (Cleopatra Coleman), she reveals that she knows Lockhart before seemingly dying. Nine years later, Lockhart finds out that a similar killing spree begins and that the suspect still appears to be the same woman. Only time will reveal the truth.
This movie surprised me on a lot of levels. Admittedly, the reveal of what is happening becomes clear pretty early on, but having a movie where the mystery actually spans decades is pretty great and I can say that you probably won’t guess the full extent until at least halfway through. The ultimate reveal of why the events of the movie happen is fulfilling, even if it ultimately might leave you with a bit of contemplation about the real world and morality.
The film hangs on Holbrook’s performance and, fortunately, he’s up to the task. As the movie goes on he goes from ambitious family man all the way to homeless nutcase and hits most of the steps in between. It says a lot that the film can jump nearly a decade at a time and still have you follow the protagonist’s journey without really having any issues. Coleman, on the other hand, pulls off a performance that requires a number of things being just ambiguous enough to keep the audience waiting at all times and does it well. The way that director Jim Mickle focuses on the appearance of the world and the characters changing in ways that quickly communicate the when and where of the jumps helps quite a bit. It also helps that the dialogue doesn’t play up the ‘80s or ‘90s too much, instead letting advances in technology do most of the talking.
The script does suffer a bit from trying to make sure that everyone is caught up at the end, because it goes through a meticulous description of what we’ve just watched and most of it should already have been known to both of the parties involved. Still, they use that opportunity to give us some more visuals that we otherwise likely wouldn’t have seen that do help drive the point of the film home more.
Overall, I really liked this movie. Give it a try.
Sometimes a show just can’t keep the quality up to the end. A lot of the times shows go downhill for a while after they start running low on ideas, and sometimes they just won’t give up and die with dignity. However, even if the writing is on the wall and you’re given a year to plan to go out, you can still screw it all up with a bad ending.
For this entry, I am going to make two caveats:
The episode has to be intended as a finale. That means either it’s clear the production team knew the show was over, or didn’t have reason to believe it was going to keep going. So cliffhangers don’t count unless they were made AFTER the show was cancelled. Additionally, if an episode was meant to be the finale, but the network aired it out of order, only the intended finale counts.
If the show was rebooted later, the original finale still counts.
Also, The Sopranos is not going to be on here, because I have a long-running theory that makes me like that finale, and I refuse to debate it right now. If I’m wrong, then… well, it sucks.
RUNNER UP: Of Course He’s Dead (Two and a Half Men)
The Show: Charlie Harper (Charlie Sheen) is a jingle writer who lives a hedonistic lifestyle. His brother, Alan (Jon Cryer), and nephew Jake (Angus T. Jones) move in after Alan’s wife leaves him. Eventually, after Charlie dies, his house is bought by billionaire Walden Schmidt (Ashton Kutcher), who lets Alan and Jake stay. Eventually Jake leaves and Charlie’s unknown biological daughter Jenny (Amber Tamblyn) moves in.
The Finale: Alan receives a letter from a lawyer saying that Charlie has millions in unclaimed royalties, but can’t find Charlie’s death certificate. It turns out that Charlie is actually alive, having been kept prisoner by his crazy stalker Rose (Melanie Lynskey), after she caught him in bed with a goat. Alan, Jake, and Walden start to receive threats and the police tell them that they caught Charlie, but it’s actually Christian Slater. Charlie approaches the house, but a piano he ordered crushes him. The camera then shows creator Chuck Lorre, who says “winning!” then is crushed by a second piano.
This doesn’t make the list because this show had pretty much lost all of its quality when Charlie Sheen left. The writers never figured out what to do with Walden or Jenny, constantly shifting their characters, and it just kind of limped on for four years. Ensemble casts exist on relationships and when you can’t keep characters consistent, then the relationships can’t be consistent. However, dedicating your finale to throwing a tantrum at Charlie Sheen over him being a d*ck doesn’t really age well, particularly since it’s been revealed that Sheen’s behavior was related to him being diagnosed HIV positive. While the viewers would have understood what was happening at the time, I think anyone that watches this in a decade (if anyone does) probably won’t get what the hell happened and it’ll just seem like a waste of time.
10) These are the Voyages… (Star Trek: Enterprise)
The Show: This show takes place before any previous Star Trek series, in the 22nd century, aboard the spaceship Enterprise, the first vessel capable of real, effective interstellar exploration by humanity. The crew includes Captain Jonathan Archer (Scott Bakula), Science Officer T’Pol (Jolene Blalock), Chief Engineer Trip Tucker (Connor Trinneer), Tactical Officer Reed (Dominic Keating), Communications Officer Sato (Linda Park), Helmsman Mayweather (Anthony Montgomery), and Medical Officer Dr. Phlox (John Billingsley).
The Finale: Taking place in the 24th Century, Star Trek: The Next Generation characters William Riker (Jonathan Frakes) and Deanna Troi (Marina Sirtis) are looking for guidance on an issue (the TNG Episode “The Pegasus”) and decide to review the decommissioning of the first Enterprise. They interact at points with the Enterprise crew, who are holograms here. Captain Archer is set to give a speech, but gets sidetracked trying to rescue the kidnapped daughter of an ambassador. The kidnappers board the ship and Trip Tucker dies saving Captain Archer. Archer makes his speech and Riker figures out what he’s going to do. The last shot is a montage of Star Trek footage and Captains Kirk, Picard, and Archer giving the “where no man has gone before” speech.
This would probably be higher up if I had ever really liked Enterprise, but it remains the worst Star Trek series in my opinion. The only episodes I really liked were the ones set in the Mirror Universe where humans were the bad guys, because those seemed original and compelling, but most of the series just felt like recycled old ideas with skimpier outfits. What a waste of a Bakula. However, this has to go down as one of the worst finales because it’s a finale that doesn’t even really feature the characters of the show. Instead, the episode takes place during a different series and everyone from Enterprise appears only by hologram. Moreover, the events in the hologram take place six years after the rest of the series without a compelling reason for doing so and one of the main characters is killed as an afterthought. This episode was so bad that I don’t think I’ve seen a list of the worst Star Trek properties that didn’t include it, often at number one. It was so bad that it ended 18 consecutive years of Star Trek being on the air. When you can tank an entire franchise for a while, you earn this spot.
9) Remember the Monsters? (Dexter)
The Show: Dexter Morgan (Michael C. Hall) is a serial killer who targets other serial killers. He uses skills taught to him by his adopted father (James Remar) to avoid detection and eliminate the monsters who evade the law. He spends most of the series hiding it from his sister, Debra (Jennifer Carpenter), only for her to find out what he does in season 7. Also, she’s in love with him despite them being raised as siblings, so… that’s a thing. Look, there’s a reason I tell people to stop watching after season 5.
The Finale: Dexter is planning on fleeing the country. Debra gets shot by serial killer Oliver Saxon (Darri Ingolfsson) while a hurricane prevents Dexter’s flight. Dexter leaves his son Harrison with his girlfriend Hannah and heads to the hospital where he is told Debra will recover. Saxon is captured and Debra tells Dexter to live a happy life, but then suffers a clot and goes into a coma. Dexter then kills Saxon in police custody and pulls Debra off life support. He takes her body and drops it into the ocean as he drives into the hurricane. Later, he’s seen working as a lumberjack in Oregon.
I have to admit I’ve softened towards this over the years, because for a long time I considered it the worst finale ever. It’s dropped down the list for two reasons: 1) Jennifer Carpenter’s performance as Debra is actually so good it almost single-handedly makes this episode okay. 2) Other shows since (mostly Breaking Bad) have convinced me that giving a bad person a happy ending isn’t inherently bad. However, I still think it’s a terrible ending to this show. A big part of why is that it missed the tone of the rest of the series, having a somber and sincere quality that the rest of the show never had. That might have worked for a finale, except that all of the sincerity felt crammed in and manufactured, rather than developing naturally. The characters are told that Debra is going to be okay, but their last conversation is still them saying goodbye in a last-rites kind of way. Then she dies anyway, making the previous recovery nothing but a device to keep the audience off-guard, particularly since the clot happens off-screen apropos of nothing. Oh, and as she’s dying, she tells him she loves him, which means… she might have been okay if he had left her on the machines? So, Dexter killed her, but it’s not really given as much weight as it should. Oh, and then the ending is that he’s abandoned his son and girlfriend (who he could find and join) to go be a lumberjack and somehow survived a hurricane, which was just such a cop-out. Also, can someone from Miami Metro get fired for being just the worst investigators on Earth? For what was briefly one of my favorite shows, the mighty fell hard.
8) Into That Good Night (Roseanne)
The Show: Roseanne (the show) focused on the lives of the Conner family: Roseanne (Roseanne Barr), her husband Dan (John Goodman), Roseanne’s sister Jackie (Laurie Metcalf), and Dan and Roseanne’s kids Becky (Lecy Goranson/Sarah Chalke), Darlene (Sara Gilbert), D.J. (Michael Fishman), and Baby Jerry (Cole and Morgan Roberts). They’re a working-class family in the 80s and 90s living in Illinois, and possibly one of the most realistic ones ever put on television.
The Finale: In the 9th season of the show, the Conners win the lottery, suddenly becoming very wealthy, but Dan and Roseanne’s marriage has been on the rocks throughout the whole season, culminating in a revelation that he cheated on her. During the finale, after the family welcomes a new grandson from Darlene’s marriage, everyone is set to move on with their lives. Then, in the last 10 minutes of the show, Roseanne reveals to the audience that the entire show had just been a book she was writing. Dan was dead from a heart attack, Jackie was gay, and Darlene and Becky were, in fact, married to each-other’s husbands. No explanation is given for any of this except that Roseanne thought it was more interesting this way.
Roseanne had taken a massive dive in the last season due to destroying the thing that most people liked about the show, it’s blue-collar realism. The Conners were constantly screwed by normal problems that most sitcoms would just gloss over, like a malfunctioning fridge they can’t afford to replace or a light bill late fee that builds up. They lived the way that a lot of America lived. Once they were rich, that stuff all fell away and they stopped being relatable. That was bad enough, but to literally spend the last 10 minutes of the show revealing that everything in the show was fake, even within the reality of the show, was just icing on the crapcake. Roseanne is revealed to be a writer, a profession that stood completely against her character’s usual employment in various menial jobs. Dan’s dead, meaning that any of their drama in the last season was just Roseanne taking shots at her deceased husband. None of the relationships were real. What’s most astonishing is that all of this was just completely unnecessary. When they rebooted the show, they made the decision to just ignore all of this, which was smarter than anything in the finale.
7) Daybreak (Battlestar Galactica – 2004)
The Show: Humans lived on a set of planets known as the Twelve Colonies. The humans created the Cylons, a race of robots, that then rebelled. There was a peace accord, until the Cylons surprise attack and destroy most of humanity and the planets they populated. Only one military ship survives, the Battlestar Galactica, which sets off with the other ships to head to the thirteenth colony, Earth, while being pursued by Cylons. The survivors include Commander William Adama (Edward James Olmos), President Laura Roslin (Mary McDonnell), pilot “Starbuck” Thrace (Katee Sackhoff), pilot “Apollo” Adama (Jamie Barber), and scientist Gaius Baltar (James Callis). There are also Cylon infiltrators known as numbers 6 and 8 (Tricia Helfer and Grace Park)
The Finale: Turns out the Cylons got to Earth first, but blew it up. As the group tries to figure out what to do now, the Cylons capture Hera, a human-Cylon hybrid, and are studying how they can reproduce. Admiral Adama orders a rescue. Gaius and Six join the mission, and it’s revealed that the two can see each other’s “inner visions.” It’s complicated to explain, but each one has a hallucination of the other that they talk to, and here it’s revealed that those are not just hallucinations. The rescue ends with an all-out battle that is ended by Gaius promising to give the Cylons back their lost resurrection ability in order to buy peace. He’s told that he sees Angels telling him that both sides are governed by God. However, this ends up failing. The fighting resumes and damage forces Adama to order the ship to jump to anywhere it can. Starbuck uses “All Along the Watchtower” to arrive at our Earth in the distant past. The survivors, and the surviving Cylons, spread out and interbreed with the hominids that populate the planet. Starbuck turns out to be an Angel and disappears. Bob Dylan is implied to be God.
Okay, did you read the last four sentences of that summary? Yeah, that’s why this whole thing fell apart. The show, which had been a cold and depressing character study and a cautionary tale against the advances of human technology, ends on a happy note because of a literal deus ex machina. To be clear, this show was almost entirely sci-fi for most of its run, and the concept of having everything in the series designed as part of the ineffable plan by God seems to have been pulled out of nowhere. I once lauded the show Quantum Leap for dealing with cancellation by having an ending that said “God did it,” but that’s because that show’s continuity and logic had never made sense. This show had never even approached that level of metaphysics until the last four episodes hinted at it loosely. A lot of people liked the happy ending, but I will stare into the face of Bob Dylan and walk backwards into Hell proclaiming this to be a complete failure of screenwriting.
6) Project: ALF (ALF)
The Show: Gordon Shumway (Paul Fusco) is an Alien Life Form (ALF) from the destroyed planet Melmac. He follows a radio signal to the home of the Tanners: Willie (Max Wright), Kate (Anne Schedeen), Lynn (Andrea Elson), and Brian (Benji Gregory). The Tanners hide ALF from the Alien Task Force that seeks to hunt him down.
The Finale: In the last episode of the original show’s run, ALF is captured by the Alien Task Force. This picks up with ALF in custody under Colonel Milfoil (Martin Sheen) who is going to kill ALF. Two scientists help him escape, but after they are chased by Milfoil, they end up deciding to reveal ALF’s existence to the world. This ends up failing, but Milfoil is fired and ALF is declared an ambassador to Earth.
The original finale of ALF can’t be on here because the show was cancelled unexpectedly and thus ended on a cliffhanger. That’s not the fault of any of the writers, particularly since the show was still in the top 40 at the time and had just had a spin-off last two seasons. Even the network later apologized to the crew, saying that they’d screwed up by cancelling it too early. However, since they were given over a year to come up with a way to end the series with this three-part episode (or TV movie), and had 5 years to think about it before that, this was truly disappointing. Except for ALF, none of the Tanners were present in this, and all we hear is that they went to Iceland. As such, a ton of plotlines, including the cliffhanger about ALF leaving the Tanners, were left unresolved. Moreover, this episode made it clear exactly how much of an a**hole ALF actually was, retroactively making the show less cute. It’s like if you ended the Muppet Show by having Kermit be revealed as a Soviet Spy. Honestly, the cliffhanger would have been a more dignified way to go out.
5) Chapter 73 (House of Cards)
The Show: Frank Underwood (Kevin Spacey) is a politician who constantly lies, cheats, steals and murders his way to becoming the President and his wife, Claire (Robin Wright), becomes Vice President. He’s assisted by Doug Stamper (Michael Kelly), his Chief of Staff who routinely does Frank’s dirty work. Frank typically narrates to the audience his true, cruel thoughts.
The Finale: In Season 6, Claire becomes President following Frank’s impeachment and subsequent getting killed off for being a rapist. Claire also takes over Frank’s role as narrator. Doug, who stood by Frank loyally, has now flipped to testify to all of Claire’s bad acts, but Claire pardons him to gain his silence. In the finale, Claire promises a new level of honesty to America, then creates a new fictional threat so that she can keep her position. Doug is sent in to kill her by some of her rivals, but after he admits he killed Frank, she ends up stabbing him to death and then suffocating him. She turns to the audience and says “No More Pain,” mirroring Frank killing a dog in the pilot.
This is mostly on here for how completely unnecessary this finale was. After Kevin Spacey was removed from the show for being a rapist, the show was completely justified in writing him out. Despite that, his character still basically dictated everything over the last season. Claire was constantly saying how she denounced his legacy, but she always kept it alive rather than tossing it to the ashcan of history where it belonged. This finale made it much, much worse, focusing on Frank’s last will, which cut Claire out, then revealing Doug to have killed Frank because Frank was hurting his own legacy, then having Claire stab Doug to death in the Oval Office and use one of Frank’s own lines, cementing her as now being essentially just Frank all over again. It essentially made Claire a secondary character in a season where she was supposed to be the lead. If you’re going to write a character out, write them out, don’t let their ghost loom over the entire series.
4) The End (LOST)
The Show: A bunch of people survive a plane crash and end on an island. The island turned out to be filled with mysteries, ranging from a smoke monster that turns out to be the embodiment of evil, to a hatch that requires a code to keep being entered into it, to some polar bears. The show had too many cast members to really list here, with 14 star roles in the first season alone, but among the key ones in this episode are: Jack (Matthew Fox), Kate (Evangeline Lilly), Hurley (Jorge Garcia), Sawyer (Josh Holloway), and Locke/The Man In Black (Terry O’Quinn). It frequently has flashbacks, flashforwards, and flash-sideways. The last season has two parallel timelines, including a new one in which the crash never happened.
The Finale: Some of the survivors head to the heart of the island, including Jack who has taken on the role of protector of the island. The Man in Black, who is trying to destroy the island, manages to unstop the source of the island’s power, but is killed by Kate. Jack then dies replacing the island’s light. In the alternate timeline, everyone suddenly remembers the island, meet up in a church, and then they are revealed to be dead.
So, from the beginning of the show, a huge number of fans (myself included) were worried that the series would end with the revelation that everyone was actually dead all along. The creators and the writers all strongly denied that it was anything like that. Instead, it’s revealed that, in fact, the events of the island were real, but that the parallel timeline was actually a form of afterlife which is powered by the island, so… I felt like this was cheating. A ton of people were confused by it, a ton more were angered, and I don’t think anyone ever thought it was a perfect way to wrap up the series. The island is revealed to be the source of the light that exists inside of every living thing, but also what grants those things a second chance, represented here as an alternate world where everyone is a little bit closer to what they wanted to be. It’s not a paradise, it’s a purgatory, and then at the end apparently everyone moves on towards the actual afterlife, maybe. If that explanation sounds kind of boring or weird or confusing, then you know why this made this list.
3) Last Forever (How I Met Your Mother)
The Show: In 2030, Ted Mosby (Josh Radnor/Bob Saget) is narrating to his kids the story of how he met their mother (Cristin Milioti). It turns out to be a story involving Ted’s best friends from his 20s and 30s: Marshall Eriksen (Jason Segel) and his wife Lily (Alyson Hannigan), Robin Scherbatsky (Cobie Smulders), and Barney Stinson (Neil Patrick Harris).
The Finale: After spending a season at the weekend of Barney and Robin’s wedding, we find out that Ted’s wife is the bass player in their wedding band. While she has met everyone from the group, she has not yet met Ted, until they share an umbrella that they both previously owned. It’s then revealed that the mother, Tracy McConnell, passed away in 2024. The kids reveal that the story was clearly about how Ted is still in love with Robin, and encourage him to get back together with her. The show ends with Ted and Robin smiling at each other.
This one is really a tragedy on two different levels. The show had always prided itself on the fact that they had already filmed the ending when they started the second season, because that meant that the kids, who had since stopped being kids, would still be in the finale at the same age. Unfortunately, they were so dedicated to this that they stuck to it even after their own writing and character development had rendered it a bad idea. Ted and Robin ending up together was a really good idea for a long time, until we spent two seasons building up Barney’s and Robin’s relationship and then an entire season on their wedding itself, only to have the finale tell us they broke up like 15 minutes later for vague reasons. It also doesn’t help that Cristin Milioti was so much more amazing than expected, particularly in the episode dedicated to her history. Everything about her was so perfect for Ted that you wanted to see them happy together. This meant that when the writers stuck with the original ending, it broke up two relationships we were invested in. At the same time, they undid all of Barney’s character growth and instead ended with him learning to love by being a father. To Neil Patrick Harris’s credit, his performance was so good I almost bought it, but it’s still bad writing. The reason why this is so high is because multiple people apparently brought up that this was a bad idea and that they should ditch the original ending, but the show wanted its gimmick more than a solid conclusion.
2) The Finale (Seinfeld)
The Show: It’s a show about nothing starring four friends: Jerry Seinfeld (himself), George Costanza (Jason Alexander), Elaine Benes (Julia Louis-Dreyfus), and Cosmo Kramer (Michael Richards). In general, the series is just about the kind of weird things that happen to the four of them and consists of them talking about it. All four are generally crappy people, but make up for it by being funny. It was created by Larry David and Seinfeld.
The Finale: Jerry and George have pitched a series to NBC that resembles Seinfeld called Jerry. The four decide to go to Paris to celebrate before moving to California to work on the show, but a problem on the flight forces them to land in Massachusetts. While they wait for the plane to be fixed, they see a man get carjacked and record it while mocking him. They’re then arrested by the police for violating the Good Samaritan statute by not helping. The four are then put on trial and a number of witnesses from throughout the series testify to their bad character. They are ultimately convicted and put in jail.
This one is so high up because Seinfeld was one of the best shows on television and I remember being absolutely pissed off watching the finale. The build-up had been huge. Other shows, including Dharma and Greg, literally had episodes that were based on the assumption that this finale would be amazing. However, I think it completely failed. First off, the set-up was ridiculous. Having the characters get arrested due to an insane law and go to trial immediately was a weird decision. That’s not how laws, courts, or even civil rights work. The fact that the prosecutors are then allowed to parade a list of people as bad character witnesses is even weirder, because, again, not how that works. Also, if they had a duty to provide aid to the victim (they didn’t), they actually did, because they recorded the face of the carjacker on film. That’s more helpful than trying to fight him. Everything about this framing device was stupid. Second, they really just used it to do a glorified clip-show as the finale. That’s one of the weakest ways to handle any episode of television, typically reserved for when shows run out of money for an episode, as opposed to the finale of a top-rated show. Third, finally calling out how bad the characters were in such a stupid fashion basically mocked the audience for liking them. If you’re flipping the bird on the way out, you’ve messed up. While Larry David has defended it, Jerry Seinfeld has pretty much stated that they dropped the ball on this one. I concur.
1) The Iron Throne (Game of Thrones)
The Show: I cannot really summarize this. The Seven Kingdoms of Westeros are thrown into a massive war after the death of the king Robert Baratheon (Mark Addy). This ends up massively affecting the Stark family, including Sansa (Sophie Turner), Bran (Isaac Hempstead-Wright), and Arya (Maisie Williams). At the same time, an army of zombie warriors start to descend from the North to destroy the world. Also, the daughter of the previous king, Daenerys Targaryen (Emilia Clarke), hatched three dragons and uses them plus two separate armies to try to come back and retake the throne. Her nephew and lover is Jon Snow (Kit Harington), who is also the adopted brother of the Starks. A lot of people die and there’s a lot of nudity. Also, there’s Tyrion Lannister (Peter Dinklage), who is amazing, and Cersei and Jaime Lannister (Lena Headey and Nikolaj Coster-Waldau), who suck.
The Finale: Daenerys has taken over King’s Landing and claimed the Iron Throne of the Seven Kingdoms. Unfortunately, even after the people surrendered, Daenerys kept attacking, destroying a ton of the property and killing hundreds or thousands of people for no reason. When confronted, she insists that she has “liberated” the town and that she now plans to “liberate” the rest of the world. After finally realizing that Daenerys will never stop until she has conquered the world in the name of forcing her version of utopia, and will kill anyone that doesn’t submit immediately. Jon kills her and is imprisoned by her troops. Ultimately, he is banished and Bran becomes king.
I realize that this probably will not seem as bad years down the line and that the freshness of the wound is why this feels like the worst finale, but I will say that following: It’s impressive to get every character to the end of their arc and still feel terrible. Seriously, every character finishes in the position that they clearly were always going to have, ranging from Bran being the king to Daenerys being dead to Jon being banished, but at the end all of the ways they get there appear to be completely contrived or insane. Rather than having Daenerys’s madness be a result of her destiny as a Targaryen and a breaker of chains, it came off as being because Jon didn’t want to sleep with her after finding out they’re related. Rather than Bran being made king because of his abilities, he’s instead made king because “he has the best story,” despite Jon literally having resurrected from the dead and Arya having slain an undead king. Everyone gets to close their story in the right place, but it feels so forced that it undermines the rest of the series and its great plotting and character progression. Mostly, though, this whole thing felt completely unnecessary. HBO had the hottest show on the planet and had already stated they would basically give the showrunners carte blanche if they needed more episodes to come to a satisfying conclusion. Instead, the show rushed from the death of the Night King to the finale in only 3 episodes. This isn’t just dropping the ball, this is firing the ball straight down out of a cannon so hard that it currently resides in the molten core of the planet.
If you disagree with any of these, let me know. If you have other episodes you think should have made it, put them in the comments or on my Facebook or Twitter.
Dexter Morgan (Michael C. Hall) is a serial killer on the side of “good.” He kills other serial killers and manages to escape detection, because he was trained to do so by his father in order to harness his violent instincts. To be fair, Dexter isn’t really that good at getting away with killing people, it’s more that the rest of the Miami Metro police force is unbelievably incompetent. As the show went on, that became sadly more apparent. But, however he keeps it going, Dexter makes for good television… for 5 seasons.
Just stab him and save us the pain, please.
The story so far: Dexter has a method for his hunting. He finds the serial killer, abducts them, confronts them with their crimes, and then “dispatches” them. He does not consider himself human, but merely a thing pretending to be a person. He fakes all of his emotions and acts of conscience, beyond his desire to kill. Despite this, he’s our protagonist, because the people he kills are still worse than him. He also has a girlfriend (later wife), Rita (Julie Benz), whom he considers part of his human disguise. Recently, Dexter had claimed to be a heroin addict to Rita, causing strain in their relationship.
“The British Invasion” is the episode where Dexter first really takes a turn for the worse. Having been caught in the episode beforehand by the technically-a-nemesis-but-objectively-more-heroic, Det. James Doakes (Erik King), the only person who ever really suspects Dexter of being a killer, Dexter imprisons Doakes in a cabin and decides to frame him for all of his murders. Despite the fact that he has no classical emotions, however, Dexter still seems hesitant towards the plan, as Doakes is an innocent.
At the same time as Dexter is arranging to frame Doakes for the FBI, Dexter’s self-imposed “love interest” (i.e. stalker), Lila (Jaime Murray), shows up and finds Doakes at the cabin. Rather than releasing him, she decides that she has to protect her “soul mate” and sets the cabin on fire. When the fire is put out, all of the evidence gathered at the scene now points to Doakes being responsible for Dexter’s killings. Dexter rejoices, or the equivalent act with no emotions, in his newfound presumed innocence by reconciling with Rita. Later, he discovers that, given the circumstances of the fire, Lila must have been the cause and vows to kill her, only to find that she has abducted Rita’s children. Dexter arrives in time to find her, only for her to set the room on fire and lock him in with the children. Dexter helps the children escape, then knocks down a wall to safety. Dexter then tracks Lila to Paris and kills her, before heading back to Miami to attend Doakes’s funeral, being one of the only people who knows Doakes wasn’t a killer.
This episode shows both the heroic and villainous aspects of Dexter’s character to their fullest. At the end of this episode, all the traces leading to Dexter as a serial killer have been eliminated, but Dexter himself has been tainted by the experience, because he was preparing to kill an innocent, the one thing he isn’t supposed to indulge in. To Hall’s credit, he manages to make Dexter’s consideration of the task seem someone conflicted, but in a manner that seems more like trying to enter the wrong program into a computer, rather than how an organic mind processes it. The distinction is subtle, but it definitely sets the show apart.