Review: Dexter: Season 8, Episode 9 - Make Your Own Kind of Music

Spoilers! 

This week’s episode of Dexter sees the man himself make an important stride in The Brain Surgeon case and in his personal life. Yet unfolding circumstances allude to a less-than-happy ending. What’s even sadder however, is how little I care. 

So Dexter is moving to Argentina. That’s right. He and Hannah are so in love; they vow to start a life together, away from federal investigation and in a place where she can safely venture outside. They’re on screen chemistry remains remarkably unbelievable and lacklustre but hey, perhaps some South American culture will add a spark to their newly reformed relationship. Harrison will go with them of course, and Dexter’s job at Miami Metro will be no more. Uhm what about his 'dark passenger' I hear you ask? Psht, apparently that’s no longer an issue. Neither is the sanctity of putting your child first, unless poison-loving femme fatales make excellent mothers nowadays. 

So what’s the hold up? How come they remain in Miami? and why is Hannah hiding out at Deborah’s house? I know what you’re about to say, but fear not - they’re friends now, and apparently their hatred for one another has disappeared faster than the show’s quality. She's hiding there to avoid being caught, whilst Dexter avenges the death of his beloved pupil Zach Hamilton (in addition to the other innocent lives lost) by killing the true Brain Surgeon - whose identity is finally revealed to be... Oliver Saxon. You know, Cassie’s over-keen boyfriend that appeared in two whole episodes for a combined  time of about two minutes. Thankfully the link is not as tenuous as it may first seem, because after some hefty DNA investigation, Dexter discovers that Oliver is in fact Dr. Evelyn Vogel’s long lost psychopathic son. A family member she failed to mention up until now, as she believed him to be dead following a devastating fire in his psychiatric ward he was housed in as a child. Oh, perhaps it is a little tenuous after all...

Of course, Dexter’s instinct is to kill Oliver, although Vogel’s familial links make her rather disapproving of this notion - she would much rather treat him.  With that, Dexter poisons Vogel and heads to a diner where Oliver sits drinking coffee, listening to Mama Cass. Oliver will be Dexter’s next victim, whether Vogel disapproves or not. So, does he sit in his car, adopting his atypical stealth-stalking abilities that we have become accustomed to over the past seven seasons? No, he stands at the window of the diner in BROAD DAYLIGHT, staring at Oliver for what feels like half a day. No surprise then, that he escapes and Dexter returns to a rather miffed Vogel. She puts her foot down once more, demanding that Oliver stay alive but Dexter disagrees, exclaiming that Oliver's death will be the last thing he does before fleeing to Argentina. He leaves and hey presto, the Brain Surgeon himself emerges from another room; mother and son are finally re-united. Queue non-diegetic violin shriek undoubtedly intended for revelatory impact, but ultimately lost on a disenchanted spectator. 

Elsewhere Deb butts heads with Elway over returning to Miami Metro, Quinn still blatantly loves her, Jamie is still moaning and Vince’s daughter kept her top on. All extraneous plot devices, in a pretty vacuous plot in general. Nevertheless, there we have it, the final showdown is in full swing - will Dexter, Hannah and Harrison get a chance to start over in Argentina? Or will the intent to kill The Brain Surgeon throw a spanner in the works with devastating consequences? Regardless, the lack of an empathy-inducing center elicits a sense of carelessness. Hark back to previous seasons where Dexter suffered terrible turmoil in killing his own brother or experienced the gut-wrenching moment of discovering his wife, Rita, brutally murdered. Although, the threat of Dexter’s family is still up for grabs and by the looks of things, that is a direction the show will take, the emotional link previously attached to Dexter’s antagonists is just not there. So, why does Dexter even remain in Miami? To avenge the death of Zach...a boy he tried to kill twice himself? And what was the significance of Yates and The Brain Surgeon’s killing spree, a method to get his mum’s attention? 

These may well be some well thought-out enigmatic plot devices to get us all excited for the series finale but, and maybe it’s just me so feel free to disagree, I do not care anymore. Rather than excitement, poor narrativisation, episodic execution and characterisation instead induces an overwhelming sense of boredom and disinterest.

Am I being too harsh? How do you feel about this season of Dexter at the moment? Post a comment! 

Next time... 

HFX and the Monstrous: Part 1 - Horror Origins and the Birth of HFX

Many horror fans would agree that the principal aim of the horror genre is to horrify, to ‘dramatise horrific events other than the commonplace, realistic or historical’ (Sipos, 2010, p. 6). This is no doubt achieved through the use of the monstrous – a generic component that lacks a definitive identity and instead takes many guises. An alien invasion? the local Ed Gein wannabe? A zombie apocalypse? This is but to name a few... However this feature is not interested in what the monstrous is, but more of an exploration into how it is constructed. It is essential, therefore, to choose a particular type or example. For this feature, I have decided to focus on the monstrous body, otherwise known as Body Horror. This sub genre generally achieves the monstrous through the ‘mutilation, destruction or disintegration of the human body’ (Hayward, 2006, p. 210) and the use of HFX to achieve this, will be explored. Yet before embarking on such a refined focus, it is important to establish a little context.

Aesthetically speaking, the construction of the monstrous is generally achieved through the use of horror effects (HFX) - a process by which specific artists are hired throughout the films' production to orchestrate scenes of a gory or horrific nature, using makeup, machinery or any other weird and wonderful materials at their disposal. As an industry, its traditions stem from Le Théatre du Grand-Guignol - a theatre situated in France throughout the late 1800s that specialised in naturalistic horror shows. Each night, four or five short plays were performed, containing a variety of gruesome acts such as eye gouging, acid throwing and amputation. Akin to the fake blood that showered spectator's clothes, this form of entertainment fast made its mark on the film industry.

This was of course aided by a significant change to cinema. Throughout the early 1900s film was, on the one hand, dominated by the Lumiére Brothers, whose productions depicted everyday life. Contrasting this was Georges Méliés - a filmmaker who instead used the cinematic medium to transform and manipulate reality. In doing so, he arguably founded special effects trickery. Through the use of super impositions, double or more exposure, fade in, fade out and painted scenery backgrounds, he generated a new filmic style - one that would eventually transcend beyond the realms of editing, and into makeup effects.

In the 1920s, cinematographic manipulation indeed extended toward the alteration of the human form. Films such as Nosferatu (1922) began this, namely through the implementation of makeup to accentual facial features. Count Orlok's claw-like hands, false teeth, pallid skin tone, pointed ears and sunken were a canonical first step into the realms of HFX and Monsterdom. 

Lon Chaney was arguably the first actor practitioner to continue this exploration into the manipulation of the human face and hands. In doing so, he paved the way for further developments in HFX as a practice and as an occupation. His signature work in films such as The Hunchback of Notre Dame (1923), The Phantom of the Opera (1925) and London after Midnight (1927) showcased greater attempts at facial distortion. Jack Pierce then continued this trend, as the head of Universal Studio's makeup department. Using similar techniques to Chaney (and the usual primitive materials of cotton, collodion and greasepaint), Pierce upped the ante on facial transformation once again. His work in Frankenstein (1931), created the infamous, protruding and blocky forehead of Frankenstein's monster, which even now remains an iconic face of horror. I think it is fair to say that overall, the early 1900s were pivotal in pioneering HFX, marking out the realms for future monsterdom.

Throughout the 1940s, the Universal monster sub genre continued. In films such as The Wolf Man (1941), Pierce further revolutionised HFX by using foam latex. The use of this material gradually increased in conjunction with generic changes, namely horror's foray into Science Fiction territory. Primarily taking place throughout the 1950s, this form of hybridity happened as a response to America's tumultuous socio-cultural climate, enveloped in Cold War Paranoia. The monsters of this decade represented a nation's nuclear fears. Films such as The Thing from Another World (1951) and Creature from the Black Lagoon (1954) thus embodied a narrative trend of monstrous invasions, either from outer space or as a result of scientific experimentation. The HFX consequently extended beyond the face toward the human body through the use of latex suits. However, it would soon become apparent throughout the 1960s and 1970s that not all forms of the monstrous had to be supernatural creatures. In fact, the source could instead stem from somewhere very close to home.

The 60s and 70s were pivotal decades for the horror genre and HFX twofold. First, the depiction of horror shifted to the internal, namely with Psycho (1960), which placed the monstrous threat within a more realistic and recognisable setting; ourselves. 

"the advent of Psycho in 1960 is generally regarded as a turning point, as the beginning of something new: as the film which located horror firmly and influentially within the modern psyche, the modern world, modern relationships and the modern (dysfunctional) family" (Neale, 1999, p. 88)

Furthermore the genre began to mimic realistic horrors that were shaping the nation's socio-cultural climate at the time. Examples include Night of the Living Dead (1968) and The Texas Chainsaw Massacre (1974), which brought to fruition the nihilistic and sombre mood of a nation, replicating humanity's fears and losses concerning socio-cultural struggles such as oppression, civil unrest and the Vietnam War.

This thematic change in horror thus brought about visual developments in HFX, most prevalently through the work of makeup artist Tom Savini. Before embarking on a career in the HFX industry, he served as a GI in the Vietnam War. In conjunction with the relaxation of film censorship in 1968, artists such as Savini thus replicated the horrors experienced in Vietnam into their effects work. Noticeable examples include Dawn of the Dead (1978) in which zombies were eviscerated in a graphic and explosive manner, mimicking the real destruction witnessed whilst on military duty. Savini consequently became known as 'The King of Splatter' and through his HFX 'heads were severed, scalped, axed, exploded and pierced. Machete's hacked off limbs, fangs tore through chunks of human flesh, and blood bags sprayed gallons of grue' (Timpone, 1996, p. 63). Thus throughout this period, HFX was defined by the dislocation and fragmentation of the human body, possessing a particularly gory aesthetic due to anatomical detail and films' shift to colour photographic film. Although what must be noted is that none of this would even be possible, without the practical and industrial developments of the HFX industry. 

Arguably as a result of The Exorcist (1973), intellectual respectability was granted toward the horror genre and HFX as a whole. This is not to say that public interest toward both had not existed up until this point. Indeed, prior to The Exorcist, HFX artist Dick Smith had published Famous Monsters' Do-It-Yourself Monster Make-up Handbook in the late 1960s as a 'how to' guide for burgeoning artists. However it was the success and simultaneous controversy of The Exorcist that consequently garnered interest toward its production from a distinctively larger audience. After viewing the film Mark Kermode recalls...

"frustrated by the inability of anyone... to tell me what I needed to know in the kind of depth and detail that I needed to know it... I turned to a new breed of horror and fantasy magazines" (1997, p. 128)

These magazines, or fanzines, were publications such as Fangoria, Cinefantastique and Cinefex (to name a few). They were a crucial development for the HFX industry, as not only did they cater toward fan interest but also provided tips and tricks on creating the latest effect. The fanzines emphasised passion, specialism and professionalism, all at a time in which cheap HFX materials were becoming increasingly accessible. Therefore, a boom occurred in the HFX industry, resulting in an era of prolific experimentation. This most noticeably tied in with fantastic distortions of the human body - fulfilling the lurid desire to witness transfiguration and conceiving the official birth of the body horror sub genre. 

Arguably indicated by the success of Alien (1979), body horror came to popular and critical acclaim throughout the 1980s. Horror films continuously employed experimental HFX to depict bodily degradation from numerous trauma and biological phenomena. The most notable films of this era include Videodrome (1983), The Fly (1986) in addition to many other David Cronenberg productions, Re-Animator (1985), From Beyond (1986), Society (1989) and John Carpenter's The Thing (1982).

The work demonstrated throughout these body horror films reigned in an era of fame and respectability for HFX. Innovative techniques, experimental attitudes and technological developments such as sophisticated animatronics, consequently granted horror films with an overall re-newed focus - "too blunt to bother with psychology - traditionally the voice of articulation behind horror - [the] prime importance [became] the textual effect" (Brophy, 1986, p. 5). In other words, horror films became more concerned with showing rather than telling. 

So, between the late 1800s and 1980s, the HFX industry had developed in conjunction with the artists' need to display the monstrous threat in a post-Vietnam era, boasting cheap and easily accessible materials. The release of fanzines confirmed HFX as a legitimate practice, emphasising the status and importance of it within the American horror film industry. All of this enabled vast manipulation of the human body and accordingly set a generic trend throughout the 1980s, the birth of body horror and a primary concern over HFX. Whether disintegration, fragmentation of assimilation, the effect used to construct the monstrous body had become the focal spectacle and point of interest. 

To explore this further, part two of this feature will focus on John Carpenter's The Thing. I will write a few Wise Words... on how Rob Bottin's HFX within this film constructs the monstrous body both practically and symbolically, also determining whether such a construction consequently extends beyond the image itself. Until then...

Stay tuned!

Review: Breaking Bad: Season 5, Episode 10 – Buried

(Spoilers!)

Lydia sits in a bunker in the middle of a nearby desert, covering her ears from an outburst of artillery on ground level. She has just orchestrated the assassination of an entire crew of business partners, who have recently been producing a less-than-average meth product. Led by Todd, she retreats from the crime scene. She covers her eyes from the devastation yet daintily foots around the bloody bodies that litter the floor. To avoid emotional scarring? Perhaps. Although a safer bet would be to keep her nice patent, black heels clean. It’s a poignant image and one that sufficiently summarises this week’s episode of Breaking Bad – chaos. Some handle it better than others... and in more glamorous attire.

Buried starts in the wake of the Hank-Walt showdown, the intensity of which no doubt remains.  As soon as the garage door re-opens, both dive full throttle into a race of outing one another. Naturally the first step is to contact Skyler, in which Hank reigns supreme. Evidently, he reveals everything and arranges to meet her at a local diner. He lovingly greets Skyler and effectively believes her to be a victim within the whole situation, forced into silence through a threat of domestic abuse. It hasn't entered Hank’s head that Skyler may also be implicitly involved in this colossal meth business her husband has created. Her silence speaks volumes, she neither refutes or agrees to such claims, but the proverbial cogs are visibly turning. What should she and Walt do next? The immediate answer is to evidently buy time, as she causes a scene, escaping Hank and the diner. 

A similar situation presents itself again however, when Skyler is later confronted by Marie. In a fantastic sequence, Marie questions how long Skyler has known about Walt. Again, the silence is significant, as Skyler realises there is no justification for the horror she has put her sister through. It is not long until Marie reaches the same conclusion and upon working out the damage caused toward herself and her husband, slaps Skyler with some hefty force. Possessing as much pack as Hank’s punch last week, the Schrader’s are turning out to be quite the masters of hand-to-hand combat. The sequence ends on an incredibly emotive finale when Marie attempts (but fails) to leave the White residence with Holly in tow – a devastatingly close wake-up call for Skyler. 

When she and Walt finally meet, they discuss the next plan of action – which is essentially to wait until this all blows over. As annoying as Skyler may be, it’s a pragmatic decision. Yes, prospects are not particularly positive for the White family, but she is fully aware that it’s not a win-win situation for Hank either. As much as Marie wants both Skyler and Walt to suffer that which they deserve, Hank knows it’s not all that easy. Catching Heisenberg poses a problem in itself yes, but it seems there is a greater concern. Positing to the DEA that Heisenberg, the man Hank has been after for the past five or so years, is in fact his own brother-in-law is a damning revelation and therefore an outlandish theory. It garners the possibility to ruin Hank’s reputation and possibly cost him his job. So, given the return of Walt’s cancer also, does he turn a blind eye and forget this happened? Or should he concentrate on collecting some hard, comprehensive evidence to fully divulge the truth. What should the next step be? Where should Hank go from here?  

As if by magic, a dazed Jesse Pinkman resides in a DEA interrogation room. He has been brought in for questioning, following his philanthropic adventures of tossing wads of cash to the less-fortunate residents of Albuquerque. It is without doubt that mentally, he is in a totally different place – a broken soul with nothing to lose, plagued with guilt over what he has done and the lives he has taken. A perfect opportunity for Hank, no? Much like Hank is the perfect opportunity for Jesse. It’s an “I’ll scratch your back if you scratch mine” situation – help Hank bring down Heisenberg and Jesse has a chance to cleanse his soul, an attempt to rid himself of some guilt. 

In typical Breaking Bad fashion, the episode ends before we see the two interact, granting this Sunday’s instalment high levels of anticipation. Yet what we have presented is an interesting dynamic. Amidst the revelatory chaos tearing families apart, two trajectories have presented themselves. For Walt and Skyler, is it a case of slow and steady wins the race? Or has Hank just capitalised on his path toward justice by embracing an all too convenient opportunity...? Only time will tell.

What were your thoughts on this episode of Breaking Bad? Post a comment!

Review: Dexter: Season 8, Episode 8 - Are We There Yet?

Spoilers!

Like a stereotypical teenage boy, Zach Hamilton sits in the back of Dexter's car and mid-journey he innocently questions, "are we there yet?" Funny, I've been asking myself the same question. Dexter, are we THERE yet? Have we reached an actual, visible point of significant plot progression? Eight episodes in and finally, we have. Well, hopefully...

This week’s installment of Dexter begins at the aftermath of Cassie’s bludgeoning. Whilst Miami Metro investigates the crime scene, Dexter muses quietly over the likelihood that Zach is the culprit. After all, in the midst of Hannah McKay’s re-arrival last week, he has been somewhat distracted from newly appointed mentor duties, quite possibly leading to Zach's 'outburst'. After finding some damning evidence underneath Cassie’s fingernails, suspicions are confirmed. But of course, Zach knows everything about Dexter so turning him in is not an option. Instead, it’s time to fashion another trusty kill room and dispose of him. Not without Hannah’s help of course, who remains in the city after being promised help (in the form of a new passport and identity) from a love-sick Dexter.

Dexter and Hannah follow Zach to Florida Keys, where he has been hiding, and upon confrontation hey, it turns out Zach didn't kill Cassie after all and he even has an alibi to prove it. Contrary to popular belief, Zach was not on the run, but away vetting, stalking and fashioning kill rooms a la Morgan. He has murdered his first victim who ‘deserved’ it, and just like that, Dexter transgresses from bearing an angry vendetta to admiration over his star pupil. It’s not all A+ though as the body had not yet been disposed of. With that, Dexter and Zach disappear for a while, whilst Hannah remains in the hotel room. 

Following a tracking device placed on Dexter’s car, Deborah also arrives at Florida Keys and confronts Hannah. In arguably one of the best sequences of this week’s episode, it was refreshing to see the two hash it out and be honest with one another. To paraphrase, Hannah won’t kill Deb and Deb won’t turn Hannah in. Why? Because they both care too much for Dexter and the disappearance of either of them would hurt him. With that, Deb stops her plan to get rid of Hannah. In fact, she wonders whether to stop private investigation all together and rejoin Miami Metro. Hopefully this will follow through, as her character shines the most when investigating crime scenes with the likes of Batista and Quinn.

Zach, Hannah and Dexter travel back to Miami, stopping off at Dr. Evelyn Vogel’s for dinner. Conversing over the dining table, Vogel once again proves herself as the most interesting component of this season. She is obviously in her element, catering for psychopaths and marveling at their behavior. Her hesitation when asked what got her into her profession is of subtle poignancy, once again raising questions of her history, her motivations - something that will undeniably surface over the next couple of weeks. 

Something else to take away from this sequence is how Dexter’s bizarre familial puzzle feels almost complete. He has a loving son and sister and a figurative son and mother. Not to mention, after being persuaded to stay in Miami, he is back together with his true love, Hannah. Although, their fragmented discourse and totally awkward sex scene screams anything but true love. Nevertheless, Dexter has finally found his one big happy family. Yet I highly doubt season eight will end on such an optimistic sensibility. After all, Cassie’s murderer is still out there, with an aim to frame Zach. More importantly, so is The Brain Surgeon. 

In the final sequence of this episode, Dexter returns home to a semi-scalped and de-brained Zach, whilst the song ‘Make Your Own Kind of Music’ by Mama Cass is played. Released in 1968, this is a somewhat obvious hint that the suspect must be in their fifties or sixties no? The sequence then fades to Vogel staring at an all too familiar piece of the human brain. Is she The Brain Surgeon? Without question, it all makes an obvious linkage but by golly, a refreshing signal that finally indicates the show is heading somewhere; albeit a direction most viewers probably predicted four or five episodes ago. 

So to answer your question Zach, yes I think we are ‘there’. The show has finally regained its sense of storytelling and a path has begun to form, albeit one that still garners the opportunity to totally divert into a different direction. Yet, it would be stupid to bring in new characters that could possibly be The Brain Surgeon. Thus, we have ultimately reached a make or break moment of the series. Hopefully, now that the groundwork has been set, the few remaining episodes will be a jaw-dropping farewell with flow, finesse and sheer intensity, rather than a lacklustre and sporadic affair. 

What where your thoughts on this week's episode of Dexter? Post a comment! 

Next time...

HFX and the Monstrous

Now that my dissertation is almost over, I have decided to use it to re-work my feature on horror effects (HFX). Cheating I know, but so far I have only traced specific HFX artists and their famous creations. This has all been great fun yet it means I have breezed over some crucial discussion.

What about the origins of HFX? How has it progressed within the horror genre? and more importantly, how does the use of HFX actually construct the monstrous? Whilst I have broached this topic - exploring the likes of Dick Smith and his use of foam latex or Tom Savini working with, well... whatever he could get his hands on - what does this practical construction of the monstrous infer symbolically? Does the impact of HFX extend beyond the filmic image? Is there more to such unnatural and fantastical creations than meets the eye? 

To explore this my feature will now be broken into five parts:

Horror Origins and the Birth of HFX - a brief history of the horror genre and its embrace of HFX

"You've gotta be fucking kidding": Traditional HFX and the Monstrous - a case study of John Carpenter's The Thing (1982) to explore how HFX constructs the monstrous

Old Scares and New Technology - a trace of the horror genre post-1982, with a specific focus on remakes and the introduction of Computer-Generated Imagery (CGI) technology. 

CGI and the Monstrous - a case study of The Thing (2011) to explore how CGI constructs the monstrous differently

An Aesthetic of Monstrous Astonishment - the final part in which some conclusions shall be drawn

Hopefully all of this will then provide a pretty comprehensive study of HFX, and perhaps of the horror genre as a whole.

So stay tuned - part one will be up very soon! 

Review: Breaking Bad: Season 5, Episode 9 - Blood Money

Spoilers Spoilers Spoilers!

Hello Walter...

He’s back! It’s back! Everyone can rejoice over the return of Breaking Bad. With a brand new episode entitled Blood Money, we return right where Vince Gilligan and co left off. Easing any fears of dilapidating quality, it’s a return oozing with enigma, intensity and sheer finesse. 

Synoptically speaking the episode begins with a rather scruffy looking Walter White, a Walt from the future who first appeared on our screens in the opening of season five quite some time ago. He doesn't look his best it must be said, and given his neighbors reaction at the sight of him, there is an implication that something terrible must have happened. This enigmatic notion is further emphasised as Walt wonders around his old house. Vandalised, derelict and now serving as a skate park for teenage boys, the house is completely ruined. After retrieving a ricin cigarette, Walt looks into a cracked mirror – not quite Walt, not quite Heisenberg – who is this man? 

Cut back to the present day and we join Hank after he has finally discovered the answer to his own question of a similar nature. Who is Heisenberg? Well some pretty incriminating evidence found in Walt's bathroom points toward the very man himself. With this shocking revelation it is no wonder Hank makes a convenient excuse to leave the White residence and promptly have a freak out mid-journey home.  Post-anxiety attack however, he delves into some serious investigative work – how did Walt operate as Heisenberg under his nose this whole time? Of course, the answer lies in Walt’s characterisation this episode. Paternal duties, cancer struggles, and concerns over running a successful car wash – they are all exemplifying features of his harmless exterior, eclipsing any Heisenberg tendencies. Tendencies that are a latent presence nowadays, especially in his relationship with Skyler that appears to be in far greater matrimonial territory. 

Although latent is the key word here, as the man who once famously delivered the ‘I am the one who knocks speech’, makes a fleeting appearance every now and again. He prevents a guilt-ridden, dazed and confused Jesse from giving away his money, whilst assuring his innocence over the disappearance of Mike. He assertively dismisses Lydia when she appears at the car wash, fearing for her life. He even handles yet another panicked telephone call from Saul. Yet, Heisenberg’s greatest re-appearance this week arrives in an intense confrontation between Walt and Hank, comprising the end of this episode. 

Upon noticing the disappearance of the Leaves of Grass book, Walt is suddenly suspicious that someone may be on to him. Whilst checking the underneath of his car, he comes across a planted tracking device – the same one Hank had used in a previous investigative mission, in which Walt went for a ride-along. The next day, he visits Hank and both at first indulge in false pretenses. Just when you think their meeting is about to come to an end however, Walt questions Hank over the tracking device. Soon enough, the garage door closes and the room descends into darkness. This is it – the moment of confrontation we have all been waiting for, and boy does it deliver. In an incredibly intense sequence by all accounts, Hank punches Walt in an outburst of rage – revealing he knows everything. Walt, slightly shocked by this confrontation, at first tries the sympathy approach. He denies allegations and delivers quite the speech, exclaiming if Hank were to prove such a thing, cancer would reach him before any form of criminal justice. To that, Hank responds with the order that Walt's children move out of his house. In a gloriously understated yet hardened response, Heisenberg surfaces, threatening Hank to ‘tread lightly’. The war is most definitely on. 

This will undoubtedly become a repeated sentiment over the next few weeks but this return of Breaking Bad has once again proven how brilliant the show is. Technically, Blood Money is superb as ever, and performances, as always, are stellar. However the pacing and narrativisation are where this episode truly shines. Gilligan and co perfectly balance timely progression with unrelenting intensity. The aftermath of Hank’s discovery comprises the majority of this episode, pacing itself. However whereas some writers would have perhaps spun this out for another episode or so, bam – all of a sudden, the garage door is instead slammed shut and a confrontation is imminent. One packing quite the punch at that. The result is a viewing experience brimming with such intensity that this choice in pace and progression is a sure fire message to us spectators – prepare yourselves, because treading lightly is something that the show's creators are most definitely not doing.

What were your thoughts on the return of Breaking Bad? Post a comment! 

Review: Dexter: Season 8, Episodes 6 & 7 (A Little Reflection & Dress Code)

(Spoilers!)

We’re now over the half way point in the final season of Dexter. Normally at this stage, there is a clear-cut path leading toward the finale – a focal character or sub plot that will take prominence and prove to be an almost insurmountable issue for Dexter to overcome. Instead episodes six and seven posit several paths toward the season finale, in an oddly underwhelming manner that appears to be trapped in a liminal narrative, avoiding linear progression. 

This is not to say that the plot hasn't evolved at all. In episode 6 we are fully introduced Zach Hamilton, a spoilt rich-kid previously linked to the Norma Rivera case as a prime suspect. Accurately so, as after Dexter conducted some investigative work he came across evidence that places Zach as the killer. This was of course enough ammunition for Dexter to fashion a kill room, and toy with Zach on the oh so familiar table. However, after 'a little reflection', Dexter realises Zach was no different than him as a child. He too has urges or a dark passenger that he is unable to control and soon enough, he will kill again. So Dexter decides -also after some enthusiastic persuasion from Dr. Evelyn Vogel - to take Zach on as a student, to become a teacher of the do's and don'ts in murdering.

Progressing into episode 7, Zach is more than thrilled to have Dexter as his mentor. In order for them to both meet without raising suspicions, he uses his wealth and status to remove Quinn's constant surveillance and consequently relieve his status as a prime suspect in the Rivera case. Lessons will have to wait however, as Dexter is distracted elsewhere. Leaving Zach neglected and full of urges, he waits no longer and murders Cassie - Dexter's next door neighbor. So, having murdered two innocent people, is Zach too far gone to be mentored? and now knowing all of Dexter's darkest secrets, is he in fact the biggest threat?

The distraction keeping Dexter from his mentoring duties was of course the re-appearance of Hannah McKay - Dexter's ex-love and avid poisoner whom he turned over to the police not so long ago, fruitfully destroying their loving relationship. She makes quite the entrance at the end of episode 6 by poisoning Dexter and Deborah. In episode 7, both wake up in several locations rather dazed and confused - they realise Hannah is back but question, why didn't she kill them? Hannah later explains in a secluded meeting with Dexter, that this act was a call for help, a cry for escape from her new millionaire-husband Miles Castner. A man whom, with all of his wealth, provided Hannah with a new life and identity after her murderous past. This life is proving too much however, so she traveled to Miami with the wish that Dexter would 'take care of him'. Alas, she soon changed her mind, feeling it wrong to manipulate a man she was still blatantly in love with - and their love for one another is undeniable, with plenty of sexual tension to boot. 

Upon discovering their secret meeting, Miles is less than amused. He organises an ambush on Dexter and threatens Hannah with captivity on their yacht. Fearing for Hannah's safety, Dexter makes his way to her as soon as he can, only to arrive at a murder scene in which she clearly prevailed and killed her husband. As a clear act of love and dedication, Dexter promises they will get rid of the body together - it seems these moonlit, body-dumping boat rides are quite the communal activity nowadays, compared to previous series in which this ritual was a sacred moment of privacy. Regardless, it appears Dexter is once again under the proverbial green-thumb of Hannah. Much to the dismay of Deb, who has began to take matters into her own hands to assure that she is out of their lives for good. 

Elsewhere in Miami, Quinn was not granted his promotion and as a bizarre way of getting back at Batista, has decided to move in with Jamie. Masuka accuses his estranged daughter of wanting money, which initially doesn't go down well until both resolve the issue and take a step further in their father-daughter relationship. That is, he discovers she works at a 'breastaurant', an establishment in which the waitresses serve topless. Queue awkward interaction and the phrase "daughter-boobs".These sub-plots, whilst mildly entertaining, nevertheless remain out of place and trivial fillers. Elway however, is becoming more interesting as each episode passes. It is clear he has strong feelings for Deb but also possesses quite a temper, showcased through one or two aggressive outbursts. I get the feeling his prominence in this series will fast develop, but how or with whom... it is hard to tell. 

So there we have it, two episodes later and who is the biggest threat? Zach? Hannah? Or is it still Vogel? It is worth noting how disappointing it is to see her somewhat placed on the back-burner - the sub-plot of maternal vigour and dodgy psychiatric help was stronger and generated a far greater appeal. Hopefully she will return as the focal point in the last few episodes of the season. 

Until then however, in the show's oft-fragmented approach, the plot doesn't feel it's progressing particularly well, broadening its scope and trajectories rather than narrowing them down. You may argue - ah yes, but surely this is the beauty of serial television - each week is a new possibility, a different direction that keeps us glued to the screen. To that I say absolutely, and it’s fantastic if so - but only when done in a strong and effective manner. Instead, disinterest increases each week, and every episode of Dexter feels like a sequence of events awkwardly and bizarrely strung together. If the show had stuck with Vogel, we could be into some seriously deep, psychological and thrilling material right now. Instead we are given Hannah and Zach - two characters who, yes, pose a threat to Dexter for knowing all of his secrets, but, as it stands, are nevertheless underwhelming antagonists for a final season.

What are your thoughts on Dexter so far? Do you agree or disagree? Perhaps you think the introduction of Zach and Hannah was a smart move? Post a comment! 

Next week...

Review: The Conjuring

(Spoilers!)

Good news for James Wan, his new horror flick, The Conjuring, has been the box office surprise of the summer. Beating the likes of Pacific Rim and The Lone Ranger, it has taken almost $87 million in the US. Here, in the wake of its release on August 2^nd, our televisions have been plagued with advertisements boasting the usual “scariest film you’ll ever see” remark. So, with all its financial success and raving reviews, does it live up to the hype? Does The Conjuring conjure (sorry) up some true frights?

Based on a ‘true’ story from real-life paranormal investigators; Ed and Lorraine Warren, the film is set in 1971 and follows the Perron family; Carolyn, Roger and their five daughters. Starting afresh as a family unit, they move into an old farmhouse in Rhode Island. No surprises that the house is haunted and overrun with supernatural, demonic spirits resulting from previous inhabitants’ pretty traumatic history. Fearing for the safety of her family, Carolyn contacts Ed and Lorraine for help. Throughout their investigation, each supernatural occurrence increases in its fright, violence and intensity until reaching an exorcism crescendo. 

If you’re a horror fan, you will have seen what The Conjuring has to offer before. Wan takes us on a filmic checklist through every horror production between the 1960s and late 70s. You've got the nice dog that refuses to enter the house, a creepy bordered up cellar, an evil-looking doll, un-identified whisperings, doors opening and slamming shut, possession, ghostly apparitions and Satan worshiping witches. This is not to say that none of it is effective – especially for those who are not so familiar with the horror genre. Wan has an incredibly refined skill of creating an intense atmosphere, forcing you to check the frame peripherals and wait for that inevitable jolt-scare. He knows how to take his audiences for a ride, even if the material used is unabashedly traceable to certain horror classics (The Birds, The Exorcist, The Amityville Horror). So for some, the intended impact may be somewhat reduced. Nevertheless, there are one or two genuinely scary moments that may momentarily get your heart pounding... and checking the top of your wardrobe when you return home. 

The films’ production is a strong feat - the set design creates nooks and crannies that possess a lingering vacuity, while specific props effectively showcase a homely yet foreboding vibe. The cinematography by frequent Wan-collaborator John R. Leonetti deserves an honorable mention, primarily due to camera tracking and glide shots that add an extra unnerving element to familiar checking-under-the-bed sequences. A minimal divulgence into CGI territory is also worthy of a sigh of relief. Equally, with a cast including Patrick Wilson, Vera Farmiga and Lili Taylor, performances are strong, reliable and believable. 

The one true issue I have is the film’s ending – a remarkably cheesy affair that I had pinned down as one more lure into a false sense of safety, before ending on a final image or heart-in-mouth scare that would get the chins wagging of every spectator as they leave the auditorium. But no, whilst there was a hint toward that tactic, everybody lived happily ever after, with an uplifting, orchestral score to prove it. Perhaps it was a metaphorical farewell from Wan to the horror genre, after all, aside from Insidious: Chapter 2 (due for release September 13^th), rumor has it that his forays into horror are no more. 

Which is a shame, as The Conjuring is a perfectly passable horror flick in the hands of a good cast and director who knows what he’s doing. One or two unnerving moments aside however, it’s all too familiar to leave a lingering impact. If this was a truly horrifying film, my post-Conjuring night would be plagued with a fear of waking up at 3:07am, the smell of rotting flesh or crouching wardrobe witches. Conversely, I was left with a feeling of familiarity and mediocrity... before falling sound asleep.

Have you seen The Conjuring? What were your thoughts? Post a comment!