Dexter Morgan is a blood-splatter analyst for Miami police by day and a serial killer with a conscience by night. Although he takes both jobs seriously, he is also acutely aware of the ridiculousness of his situation, turning up at crime scenes where he is both perpetrator and forensic expert.

 

Based on the novel Darkly Dreaming Dexter by Jeff Lindsay, Dexter isn’t just clever and original, it’s also incredibly funny, which is quite an achievement given its gruesome subject matter. In fact, if it weren’t for the serial killer theme, Dexter would have more in common with the likes of Curb Your Enthusiasm’s Larry David than Hannibal Lecter. Yes, there’s a lot of blood, but you don’t ever actually see Dexter killing people – the camera cuts away, allowing us to imagine the rest and still empathise with our protagonist. And, crucially, Dexter observes a strict moral code: he only kills people who really deserve it – generally other murderers whom the police have failed to nail. This policy is known as Harry’s Code, after Dexter’s foster father, a former policeman who, on realising his son’s urges, trained him to use them for good (sort of).

Played with wit and complexity by Michael C Hall, Dexter’s extraordinary double life somehow seems believable by just the third episode of the first season. And the cat-and-mouse aspect of Dexter’s life makes it perfect for binge viewing. Once you’ve got your head around the concept of a likeable sociopath, you can relax and enjoy being in on his big secret. (What’s more, as well as being a serial killer, Dexter is a massive commitment phobe; then there’s the fact that his sister – a policewoman, of all things – keeps trying to get him to open up.) It sounds crass and tasteless, and it would be, were it not for the fact that Hall makes Dexter so damn lovable.

 

Boluwatife Adesina
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Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.