‘Dexter: Resurrection’ Review: Michael C. Hall Returns for Paramount+’s Entertainingly, Frustratingly Silly Franchise Reboot

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If you’ve ever seen a film or show about a compulsive gambler, there’s a common scene that might ring a bell. Our troubled character, despite battling their addiction, has miraculously won enough money to settle debts, reopen a closed community center, or purchase back the wedding ring they sold, symbolizing their last connection to their deceased spouse. This victory momentarily subdues their inner struggles, until the villain challenges them with, “Double or nothing?” At this point, we viewers exclaim at the screen, “Stop! You did something reckless, but you emerged victorious! STOP!” In that instant of optimism, we tend to forget that we’re dealing with an addict.

This is the point that Dexter reached at the end of Dexter: New Blood.

The 10-episode comeback of Miami’s beloved witty serial killer, originally aired from 2021 to 2022, was primarily brought back because the ending of Dexter, around a decade ago, wasn’t satisfactory. Dexter: New Blood provided creator Clyde Phillips and several other series producers who were not part of that conclusion with an opportunity to give the Emmy-winning show a more fitting ending than Dexter as a lumberjack.

As a devoted admirer, let me share my thoughts on the revival: It indeed functioned, though not flawlessly. The latest season of “Dexter: New Blood” seemed hasty and reminiscent, not merely of Dexter’s prime, but also of numerous shows that emerged in the wake of peak Dexter. However, if this new series failed to validate the franchise’s creative vitality, it certainly demonstrated that there was just enough energy left for this cumbersome vehicle to gradually come to a halt in a less risky position.

The climax where Dexter Morgan appears to meet his end in the snowy landscapes of upstate New York, slain by a son who couldn’t stomach walking in his father’s bloody footsteps, was fittingly consistent with the series. It was a blend of genuine emotion and ironic twist, mirroring a clear trajectory from the pilot to the unexpected finale that fans had feared might be lost.

As a passionate gamer, I eagerly anticipate diving into “Dexter: Resurrection,” set to premiere on whatever Paramount+ or Showtime becomes by the time you read this. For Michael C. Hall’s iconic character Dexter Morgan, this new installment marks Phillips’ high-stakes bet on a franchise that has been a significant part of his career. If “Dexter: New Blood” was a dark, somber journey driven by necessity, “Dexter: Resurrection” offers a lighter, more playful take, reflecting the desires we gamers have when immersed in entertainment. After years of darkness, Phillips and the team have largely restored balance to this broken world, leaving me excited for the next chapter.

From the four episodes shown to reviewers, it seems this season is more of a light-hearted romp rather than a serious attempt to maintain the respect they had previously earned. Putting aside the subtitle, Dexter: Resurrection feels like the tenth season of Dexter (the prequel series might as well not exist), with an almost obsessive focus on references and Easter eggs, and it appears stuck in the same silly groove that often troubled the show after its peak in the fourth season led by John Lithgow. The sense of purpose and grounding that Dexter: New Blood had is absent, but if you enjoyed a version of Dexter that was already bordering on cartoonish – and the show has always been a dark comedy at heart – there’s still fun to be found here.

The narrative unfolds 10 weeks following Harrison’s (Jack Alcott) departure, leaving his father presumably deceased. Contrary to what one might expect from the season’s title, Dexter (Michael C. Hall) is neither dead nor in custody. Explanations are needed, if not justifications, for this unexpected turn of events.

Harrison, believing he’s restarting his life following a tragic act, has begun anew at a luxurious Manhattan hotel, taking on various tasks for the haughty guests and forming a bond with Elsa, a hardworking maid who’s a single mother (played by Emilia Suárez). It’s unfortunate that Harrison’s background in hospitality doesn’t overlap with Dana Brody from Homeland. Right off the bat, Harrison does something that hints he might share his father’s traits, despite Dexter: New Blood aiming to prove otherwise. Regardless of this, let’s move on.

In the near future, Dexter is compelled to journey to New York City due to the arrival of an old friend and potential danger, presumably in search of Harrison. His late father’s conscience (played by James Remar as Harry) continues to nag him, but he also forms an alliance with a cheerful ride-share driver from another country (Ntare Guma Mbaho Mwine as Blessing). This driver shares information about a serial killer who has been targeting local drivers. The media has dubbed this murderer “The Dark Passenger,” due to his brutal tactics.

Dexter is not amused.

It seems as though one might assume that Dexter’s journey to New York City, being a character from a conservative state, is intentionally satirical given the city is filled with serial killers, but this isn’t so. In terms of character development, moving to Manhattan doesn’t significantly further Dexter Morgan as much as it did for Jason Voorhees. Following the transition from the bright and cozy atmosphere of Miami to the bleak, chilly vibe of upstate New York, the directors of Dexter: Resurrection (Marcos Siega and Monica Raymund in my viewing experience) haven’t quite managed to establish a fitting aesthetic within this gritty, urban environment.

This uprooting serves several purposes, primarily refreshing the cast of law enforcement characters that Dexter needs to skillfully deceive. Given his proximity to the Miami police department for eight years and the genius he possesses, they often appeared rather foolish. In this season, David Zayas reappears with his signature hats and shifty behavior; he even provides Dexter with an unexpected Cubano sandwich, an action that seems unrealistic given the events of the series so far. However, the addition of Dominic Fumusa and Kadia Saraf as NYPD detectors investigating Harrison and his hotel brings a slightly altered dynamic. Alcott remains effective in his role and introduces a new vibe to the franchise, but I’m not convinced it is unique enough to carry half of this narrative on its own.

Currently, the actions of Hall as Dexter aren’t particularly captivating anymore. To put it another way, the roles that the scripts are asking Hall to portray as Dexter lack the intrigue they once had. For the most part, each season of Dexter has revolved around either “Dexter developing a new relationship that makes him question his ability to love” or “Dexter forming a brutal alliance, thinking they’re in sync, only to learn a hard lesson about his uniqueness.” It’s understandable for a character like Dexter to evolve and regress given his addictive and gambling nature, but Hall appears to be running out of fresh nuances to explore.

As a dedicated gamer engrossed in the thrilling world of Dexter, I’ve noticed an intriguing pattern. Each new season seems to push the boundaries of plausibility further and further, with the writers introducing increasingly outlandish serial killers. It feels like they’re gradually desensitizing us creatively, making us accept what was once unthinkable.

In the early seasons, a single murderer would be a shocking revelation. Then we met characters who were budding serial killers, and later, those as prolific as Dexter himself. But now, in this season, we’ve entered the realm of the absurd – a veritable caravan of killers! Actors like Neil Patrick Harris, David Dastmalchian, Krysten Ritter, and others bring their unique brand of quirky madness to the table. It’s a testament to the show’s creativity that they can make an “Oops, All Serial Killers” season feel fresh and exciting.

In this group of psychopathic characters, Ritter delivers the most layered portrayal. While Peter Dinklage and Uma Thurman, who both show signs of poor impulse control and have an interest in Dexter, perform with flair, they are more akin to the secondary villains portrayed by Edward James Olmos and Charlotte Rampling this season, rather than the top-tier antagonists seen on Dexter. It’s a matter of whether audiences prefer subtlety (which is lacking) or outrageousness (which is plentiful). The focus seems to be more on quantity than quality.

Mentioning Ntare Guma Mbaho Mwine, who displays warmth and enthusiasm in Apple TV+’s “Smoke,” while being surprisingly reserved in that series. His upcoming role in Hulu’s “Washington Black” suggests that this summer could be all about him – the Summer of Ntare Guma Mbaho Mwine. It’s worth noting that a TV show centered around an immigrant struggling in New York City’s gig economy, while dealing with being targeted by a serial killer, might be more captivating than “Dexter: Resurrection.” Perhaps even more so.

It’s uncertain at this point what direction Dexter: Resurrection might take. Unlike the conclusive ending hinted by Dexter: New Blood, it could be establishing a continuous New York City storyline or perhaps opting for yearly relocations around the world (possibly reclaiming ground previously occupied by Lifetime and Netflix’s You). Alternatively, it may simply represent another roll of the dice from a series that refused to call it quits when it should have.

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2025-07-10 10:25