Oh boy, I was expecting better results on Dark Urges, the compelling narrative part. In the first episode, they had a montage of “And here’s what’s going on now: he’s finishing pre-med and Deb is in high school and Harry is still here and we want to let him be a killer, and to do that, no need to bother with all this character-building stuff.”
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At least episode two seemed like it would promise the good things right? Nope. Is it his next target? Sure. Does it take the entire episode, with all the changes back, and forth, and all the new details which you probably did not bother to learn earlier, just to kill? Sure. Why the delay? Where is Luigi Mangione when you need him?
At least “Kid In A Candy Store” performs the service of establishing what an utterly clueless nerd Dexter still is, which is a welcome departure from last week’s awe-struck MythBusters-style celebration of the wonders of cadaver carving, as a means of letting us know just how skilled this young monster is.
His self-appointing himself as an expert in blood spatter analysis when he has never even attempted it before, is immediately and correctly laughed at by the whole Miami-Metro homicide team, which provides a nice welcome to the show for the guy, that serves far better than the pilot did, to remind the audience that this man has no clue as to what he is getting himself into yet.
Still, this episode shows there are going to be a couple of parallel narratives driving this first half of the season: them with the nonlinear narrative of the series—namely present-day search for the kidnapper of little Jimmy Powell—interspersing it with random standalone investigations such as Dexter’s new plan in targeting the psychotic criminal Tony Ferrer and the usual fated catastrophe of harry using Dexter’s birth mother for information in the past.
The weakness of the flashback storyline is obvious because it’s the same as its strength: we already know this story. When done at its best, it can achieve the virtue of decent tragedy: Dexter’s mom rises the ranks, the stakes rise, and it culminates in the slaughter everyone knew was inevitable.
Unfortunately, thus far, this plot is struggling to take off, mainly because we are not being allowed to spend enough time with these characters and, this arc. I likened the show’s storytelling in last week’s pilot to “Cliffs Notes,” and that still holds; without enough attention and care in developing this, it feels like drama on fast forward – hitting the most important notes far too rote doing it.
Christian Slater is doing good work (though I can’t be the only one who is distracted by the de-aging makeup job done on him sometimes), but it just lacks depth.
FAQs
1. What does “dark urges” refer to?
“Dark urges” typically describe a character’s inner desires or instincts that are morally questionable, destructive, or harmful. In storytelling, these urges often create conflict and drive a character’s decisions.
2. What makes a narrative “compelling”?
A compelling narrative captivates the audience through engaging characters, a strong plot, emotional depth, or thought-provoking themes. It holds the viewer’s attention and evokes curiosity or empathy.
3. How do dark urges contribute to storytelling?
Dark urges can create tension, moral dilemmas, and character complexity. They add depth to the story and make it more relatable or intriguing by exploring the darker aspects of human nature.
4. Can dark urges be relatable to audiences?
Yes, they often represent universal struggles, such as temptation, guilt, or revenge. Audiences may not share the same actions as the characters but can empathize with the internal conflicts they face.
5. What genres commonly feature this theme?
Dark urges are prominent in psychological thrillers, crime dramas, horror, and noir genres. They also appear in literary fiction and character-driven stories.
6. Is “compelling narrative” subjective?
Yes, what one person finds compelling might differ for someone else. Factors like personal interests, emotional connection, and cultural background influence this perception.
7. How can a compelling narrative be achieved?
Writers achieve it by creating realistic characters, maintaining a strong plot structure, and including twists or challenges that keep the audience engaged.
8. Are dark urges always portrayed negatively?
Not necessarily. Some stories use them as a catalyst for growth or redemption, showing how characters overcome their darker impulses.