‘You’ v. ‘Dexter’: Sizing up TV’s serial killer kings.
“You” returns with a season that discovers Joe Goldberg and his bloodthirsty significant other, Love, making an escape to suburbia where old issues follow them to a brand-new postal code. In “Dexter: New Blood,” killer Dexter Morgan is on a sort of self-created murder rehabilitation journey with his Dark Guest bound in his trunk, so to speak.
Seeing the screeners for these 2 programs — I have actually seen all of the 3rd season of “You” and a few of the brand-new “Dexter,” in addition to the entire initial series — it’s simple to see where the contrasts originate from. Joe and Dexter are both uncomfortable guys, killers who do not always wish to be them and have a flair for getting themselves out of significant problem.
That’s sort of where the resemblances end. The programs are basically various in tone, with “You” leaning into humor and camp sometimes, and the characters’ inspirations and techniques for eliminating are extremely different.
In one corner, you have Joe Goldberg. If I needed to appoint a cereal to represent this serial killer, he’d be Frosted Mini-Wheats — your average, sweet-seeming person on the outdoors with a shredded mess on the within. (Thank you, youth injury.) His bloodiest messes take place when Joe relatively attempts the hardest to prevent them. And when he does have a strategy, it never ever appears to go to the method it was expected to.
In the other corner is Dexter Morgan, the Raisin Bran of serial killers due to the fact that he makes everybody feel routine. Dexter describes his inner homicidal monologue as his Dark Guest, who gets the very best of him when Dexter thinks he’s seen an incorrect and aims to stabilize the scales of justice — a White Knife, if you will. Dexter eliminates, in his mind, for the good of others — and for himself when essential. That, in my mind, is what sets him apart from Joe the most, and why I’ll constantly ride for Group Dexter.
Dexter, on the other hand, understands he’s harmful. Though he’s attempted in the past to reject it or pretend he can conquer it, he’s accepted the truth of his scenario, which is why he resides in the woods, as seen in the sneak peeks for “New Blood.” I appreciate that Dexter understood what was bad for him and, at the end of the initial series, had adequate knowledge to attempt to eliminate himself from the scenario.
It’s something we must all take a stab at when essential.
Should you see streaming films in theaters?
Next, CNN’s Brian Lowry on his critic dilemma.
“For years, I’ve had an informal policy: Try to review movies in theaters and watch TV shows at home, the same way the public would view them, in order to best serve as their surrogate.
Lately, this rather simple maxim — watch things the way that readers generally will — has been tested and blurred, thanks in part to the evolution of exhibition models hastened by the pandemic.
Streaming services still frequently push screening their movies in theaters. Frequently, these outlets arrange brief theatrical runs to qualify films for awards consideration, but let’s not kid ourselves: The number of people who will actually see a Netflix or Amazon release in theaters in the week or so they’re available is almost surely dwarfed by how many will watch them in the comfort of home. (Not that we’ll ever know, since streamers have been equally steadfast about not sharing box-office totals.)
As it happens, Oct. 22 brings a pair of movies following this model, part of a wave that will run through the rest of the year. ‘The Electrical Life of Louis Wain’ features Benedict Cumberbatch and Claire Foy together in a lightweight tale with heavyweight leads that will spend two weeks in select theaters before landing on Amazon.
Netflix, similarly, is holding in-person screenings for ‘The Harder They Fall,’ a star-studded western riding into a few theaters before parking on the streamer Nov. 3.
Strictly as a practical matter, I can completely understand why these companies would like critics to see their movies in person. Certain films can play somewhat differently on a big screen, without noisy distractions.
That said, the bigger motivation appears to be stroking talent egos, using screenings and splashy premieres to make them feel like they’ve made a film that will be judged and spoken of in the same breath as theatrical fare.
Why filmmakers and stars would fall for that at this point, frankly, is somewhat mystifying. Because if the pandemic has demonstrated anything about movies, it’s that they can garner attention and praise when their first exposure comes via television, and critics ought to be able to judge a project’s merits — subjectively, obviously — without being unduly influenced by the size of the screen upon which they view it.
There’s no one-size-fits-all approach to this discussion, but here’s one ink-stained wretch’s opinion: A critic’s primary duty is to provide an honest opinion to the people who read their work. What they owe to the distributors and filmmakers should be equally straightforward: A fair hearing.
Netflix, Amazon and those they employ might feel better knowing that their films are playing in theaters, just like ‘real’ movies, even if those lines have become increasingly irrelevant.
To critics and filmgoers who prefer that option, knock yourselves out. But like the lion’s share of Netflix, Hulu and Amazon subscribers in this strange age, more often than not, I’d prefer my meals to go.”
The most effective existence in ‘What Occurred, Brittany Murphy?’
Screeners for the documentary “What Happened, Brittany Murphy?,” which premiered today on HBO Max, were provided to push ahead of time. I enjoyed both parts in a single sitting recently and though the doc is plentiful in drawbacks (i.e.: its addition of video of conspiracy-driven YouTubers and gross interviews with retired authorities that felt exploitative.) I can’t stop considering starlet Kathy Najimy’s part in it. Najimy, understood for her unforgettable functions in films like “Sister Act” and “Hocus Pocus,” appears throughout the documentary discussing her dear good friend in such a way that’s very well susceptible and entirely heartbreaking.
She discusses whatever from her early interactions with Murphy to their relationship to her remorses. In one difficult minute, she states she wants she’d taken a more strong technique to revealing her issues for Murphy, questioning “why didn’t I just go over there and knock on the door all day long?”
Najimy is probably the most identifiable face in the piece (though noteworthy filmmakers like Amy Heckerling and Shawn Levy likewise appear) which’s most likely for a factor — and it’s most likely not due to the fact that the filmmakers didn’t connect to lots of people. It takes guts to discuss buddies in this method, particularly late ones and particularly in Hollywood.
If you have actually ever remained in the position where you needed to promote for a buddy or seen as they have actually been pulled from you, you understand it’s extremely hard to act. And even if you discover it in yourself to do so, it does not constantly work out. Though the documentary does not do Murphy justice, Najimy plainly planned to — while she was on this Earth and now. Which’s exceptional.
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Jobber Wiki author Frank Long contributed to this report.