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Characteristics of dexter tv character
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Among the thousands of TV shows that are available to us, what makes certain shows have more of an appeal to the human audience? Shows of this nature have something that is mesmerizing, something we can not take our eyes off. Something that is so bizarre we must continue to watch it because we acquire devotion to the characters life. In the hit series Dexter, a man named Dexter Morgan is a Miami blood splatter analysts but, as dawn approaches he becomes a vigilante who seeks to murder atrocious people that have gotten away with horrendous crimes. By this nature he is a non-traditional hero because he kills and goes behind the law. Dexter’s main objective is to kill, but in order to achieve this goal he does other anti-hero notions as well. For the purpose of this essay I will only be looking at season 4 of Dexter because this is when he is most like an anti-hero. The ultimate reason Dexter is a non-traditional hero is because he eliminates enemy characters who have committed murder to other people with no justified reasoning behind it. As the protagonist of the show people would expect him to follow the law and allow the criminal justice system to handle these individuals. However, since Dexter …show more content…
If Dexter has intel on the whereabouts of a killer but the police are also tracking them Dexter will withhold the information. This is not the quality of a typical hero because as the good guys they know that the police has the final say in matters. If they don’t receive all the information they need innocent people can get harmed. This is exactly what happens int the show. The conclusion being that Dexter is an anti-hero because he puts innocent people at risk in order to decimate malicious mortals. After seeing these notions we can establish that Dexter is an anti-hero but, why do we as the audience still root for him and think he is in the end a good
The Breaking Bad television series has been memorable to viewers due to its diverse plot and stirring scenes. Vince Gillian incorporated Scholes matrices of power into his piece. Rhetoric has played an important roll in Breaking Bad, pathos, ethos, and logos have brought this film to another level. Allowing a sense of emotion, logic and credibility, within each episode. The series has been culturally relatable to viewers and the visually fascinating. Through narrativity the series has offered us intense plot lines and climaxes that are hard for viewers to resist and keep people watching. Through rhetoric analysis you are able to see the significance of Scholes matrices of power in Vince Gillian’s film, Breaking Bad.
Dexter denies his background as coming from the middle class and wanting to have more in life. He started as a fourteen year old golf caddie and was the best one around. Dexter one day while working thought to himself that he could have so much more than just being a golf caddie. Then and there he decided to quit his job and move on with his life. As Dexter grows up and moves out west to fulfill his dream, there is a duality inside of him that ultimately is his own downfall.
Little did Dexter know that Judy was going to play him like she has played every other man in town, dinner, dates, and get booted to the curb when she got bored. Judy preyed on Dexter’s so-called love throughout his childhood, adulthood, and his engagement with Irene. Dexter and Judy’s relationship was based off Dexter’s dream to have the prettiest girl even if she couldn’t be
During the summers, Dexter works hard at being the best caddie at the Sherry Island Country Club. This is foretelling of the hard work he will do to change his socioeconomic status. We are shown how dedicated Dexter is by the tears in Mr. Jones' eyes on the day he decides to quit (Fitzgerald, 120). After meeting Judy Jones, Dexter developed a stronger sense of urgency to change his status. Dexter is so determined to fulfill his dream that he opts to go to a "more famous university in the East" rather than the state university that was more affordable (Fitzgerald, 122). This is an example of his determination to lift his status in the eyes of others. While speaking with Judy, he uses his prestigious university as the starting point of his life. Unfortunately for Dexter, he cannot conquer Judy Jones as he has every
The similarities between Jay and Dexter are quite apparent when reading each story. They both come from the Midwest and although Dexter’s family has some money, both are similar in the fact that they did not start out as wealthy, upper class men from rich families. Their hard work and determination to make their own wealth and acquire the luxuries and social status that come with it are completely by their own doing. Both men achieve their goals of the American dream at a relatively young age and are able to be a part of the high society they once observed from a distance. Their desire to amass wealth and the perks associated with it come with an ulterior motive, to win back the girls they desire that will only be with them if they have the wealth and status to bring to the table.
Dexter and Judy could have had a fairytale ending, but in the end both of their lives were lonely and depressing. Judy wanted Dexter, but not to fall in love with her. She wanted him because she knew she could have him and wanted to prove to herself that her beauty could get a man to do anything. She convinced a man to break off an engagement with a girl he could have been happy with. She didn’t even stick around Dexter long enough for him to even propose.
Throughout the physical research of this study I have found out a lot more about this show than could have ever crossed minds before, one example being that this show has be premiered and marketed so well to the point that the viewer have almost no resistance to not believe what the show is trying to instill into our minds. These shows also categorize the characters, some are “good” guys and others are bad guys, but who is actually decided these labels? Are the categories fair? Many would say yes based off the plot line of the show, but some wonder if the bad guys have an equal amount of air time to defend themselves. These factors bring up a conflict of narration weather or not every character is portrayed in a way that they could be like-able which not the case in The Blacklist is. This “good” guy, bad guy routine is commonly used in crime shows and movies, but is not a true example of real life that these shows depict to do. In a sense these real-life shows are the complete opposite not giving the audience a real conclusion o...
In Dexter’s point of view, he identifies himself as the only person who can punish other violent criminals and get revenge. Ever since his father told him that, “There are men out there that the police can’t catch”, his view has been that the police cannot stop the serial killers in Miami and that he must be the one to first track them and second to kill them. This leads him to be blind towards the destruction his causes on his way to this crucible. Dexter is leaving a line of bodies and as seen from the first victim, he is leaving children without a father and a wife widowed.
English poet John Milton once wrote, “…good and evil we know in the field of this world grow up together almost inseparably; and the knowledge of good is so involved and interwoven with the knowledge of evil.” With this interwoven information, modern audiences are usually able to differentiate the “good guys” from the “bad guys” in a movie or television show. A murderous meth kingpin, a rebellious teenage rapist, and a Los Angeles hit man who quotes Holy Scripture before killing his targets — not your typical group of likeable personalities. However, these individuals (Walter White, Alex DeLarge, and Jules Winnfield) are among film and television’s most beloved characters. Often, society shuns people who fall under these deviant categories. Why then do audiences support, sympathize with, and even root for these “bad” characters? Many factors come into play when audiences decide whom they like and why they like them. Through easily identifiable characters, viewers relate to and support the “bad guys” and find ways to justify their deviant behavior; this pattern can be seen in the soci...
The final episode occurs seven years after the war. Dexter is now a very successful businessperson in New York City. Devlin, a business acquaintance from Detroit, makes small talk by remarking that one of his best friends in Detroit, at whose wedding Devlin ushered, was married to a woman from
Steven Johnson wrote an article for the New York Times in which he argues that back in the days, television shows use to have a very simple plot which was easy to follow without too much attention. It was just an other way to sit back and relax. However, throughout the years, viewers grew tired of this situation and demanded more complex plot lines with multiple story lines that related to recent news topics. He takes the example of the television show “24”. “24” is known for being the first show which its plot occurs in “real-time”, it is also known for not censuring the violence of its topics. It is a drastic change from what Johnson states as an example “Starsky and Hutch” where basically each episodes was only a repetition of the last one. Johnson also believes that there is a misconception of the mass culture nowadays where people think the television viewer wants dumb shows which in response makes them dumber. Johnson does not agree, for him, television shows such as “24” are “nutritional”. He also states that sm...
...belongs, especially with the evanescence of his ideals. However, Dexter’s courage in pursuing his dream is remarkable, since although he has not succeeded, he has learned the reality of this world, which may be helpful for his future development.
With producing reality shows comes producing inaccuracies in portrayals in order to reach as many viewers and gain as high ratings as possible every week with each new episode. Every day life is boring, yet people tend to be attracted to the relatable shows that portray real life in eccentric ways – ways that they believe could be imitated by the average person. In many cases, these shows could remain harmless, as it is entertainment. No matter how crude or erroneous, it is just television. However, what happens when these sources of amusement actually start being damaging? Research has shown that crime shows like the ever popular CSI: Crime Scene Investigation have started becoming significantly detrimental to criminal cases, influencing a juror's perception of what should realistically be going on with acquittal rates and wrongful convictions, but researchers have also started to find a rising fault in the prosecution, using this false perception to their advantage.
“A Cultural Approach to Television Genre Theory” argues that the application of film and literary genre theory do not fully translate when analyzing television, because of “the specific industry and audience practices unique to television, or for the mixture of fictional and nonfictional programming that constitutes the lineup on nearly every TV channel. 2” The goal of media genre studies, Mittell asserts, is to understand how media is arranged within the contexts of production and reception, and how media work to create our vision of the world.
Yet once learning about his traumatic event no additional sympathy is needed for Dexter. Sympathy is called on for the three-year-old Dexter who is locked in with an inch of blood forced to stare at his mother’s decapitated head. Present day Dexter however does not need any sympathy from readers. He is a monster with standards and readers feel no sympathy for the characters that die at Dexter’s hands. Readers make peace with what Dexter is doing as he takes away people from society who are easily hated. With no negative emotions towards the quirk that Dexter kills due to who he kills sympathy was never called for the character. His traumatic event provides great insight to the character but does not elicit sympathy, not because the event was not terrible but because the character Dexter became is acceptable to