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Showtime presents ‘Dexter New Blood’: The sins of my father



Reviewed by Alicia Glass

It wouldn’t be Dexter without murderous, blood-covered spoilers everywhere!

Like most Horror fans, I was absolutely in love with the original Showtime show Dexter when it first came out many fabled years ago. Some of the subsequent seasons were absolutely amazing, some of the entire seasons were hated by critics and fans alike, but the response to the lackluster lumberjack ending of Dexter more than 8 years ago at this point was a resounding outcry of, “Wtf was that? Dexter deserved better!” And, after years of lobbying and hard work and dedication, a revival of the beloved Dexter series came into being, a sequel to find out what happened to our favorite “serial killer who kills serial killers” some ten-plus years later!

When we catch up with Dexter (Michael C. Hall), our beloved murderer has hunkered down in the fictional town of Iron Lake, New York. He has a new name – Jim Lindsay, a nod to the author of the original Dexter books, whose name happens to be Jeff Lindsay – a convenient job at the local hunt, game and fish store, and his girlfriend Angela happens to be the Native American chief of police for the town. ‘Jim’ is known and well-liked in town, Angela’s adopted daughter Audrey (Johnny Sequoyah) gets along well with him too, and everything seems pretty peachy. Or does it?

Secrets, and the past, have a way of catching up to everyone, sooner or later. And despite the fact that apparently Dex managed to somehow box up his Dark Passenger and not kill anyone, bad guy or not, for somewhere around ten years or so, his skill set in this is never far from hand. And when Dexter begins having visions of chasing a white buck through the forest, a single act of privileged idiocy causes Dex to break his long fast and murder someone who, lets be real, the world could live without anyway. But that’s only the beginning, and while a search for the missing Caldwell boy is being organized on Dex’s cabin property and land, a youngling hitchhiker in a hoodie and a backpack shows up in Dex’s doorstep to announce, he’s Harrison. You know, the son Dex had with poor Rita, baptized in blood when the Trinity killer kills her quite dead in front of innocent baby Harrisons eyes, whom Dexter hoped would never turn out like him and so sent his only son far far away, that kid. He’s now a justifiably angry (at least with his dad) teenager, and here for answers.

So Angela Bishop (Julia Jones) has a whole nation of Seneca Indians behind her, rich with tradition and history and culture, yet there is little discussion of the significance of the white buck and his death other than to repeat that it happened on Seneca tribal land. It falls to the children to properly care for the white bucks corpse because as usual, the adults are worse than useless when it comes to the important matters. As for the white man who went missing after killing the white buck, Matt Caldwell, the general feeling among the Seneca is, he got what was coming to him. But Angela is Chief of Police Bishop of Iron Lake after all, and nothing would do but to organize a search for the missing Caldwell boy, especially when his father Kurt Caldwell (Clancy Brown) kicks up such a ruckus.

Chief Bishop has her own long-running missing-persons investigation still on-going, ever since her bestest friend in high school disappeared. Since then, young transient girls keep going missing from in and around Iron Lake, and Bishop does her best to keep track of all of them, obsessively so. This is what’s known in the entertainment biz as “foreshadowing” folks, because in real life this whole missing-womens board Bishop has going would be at best, ignored and at worst, ridiculed.

But none of that matters right now because the search for Matt Caldwell on Dex’s land is on-going, Harrison is standing there introducing himself as “Harrison Lindsay” to Dex’s fellow townies, and Dex’s version of the Harry conscience that used to live in his head has been subsequently replaced by a screaming, weeping dead-sister Debra (Jennifer Carpenter). The house of cards that Dex has been leaning on in the last several years – the empty cabin in the middle of blank land, the protective romance with the town Chief of Police, the camouflage of the entire easy-going and helpful Jim Lindsay personality – is about to come crashing down in the most heartbreakingly destructive ways possible!

So, as we know, Harrison (Jack Alcott) is back to demand answers from his reluctant father, and dear Dex finds himself at a complete loss. In the midst of typical rebellious teenage shenanigans Harrison manages to demonstrate that his adolescent rage and blood-lust is far from normal, and finally Dex begins to worry about the legacy he’s leaving his son. What if Harrison sports his own Dark Passenger? There’s no more Harry with his Rules to set Harrison right, and so in potentially the worst method of mentoring possible, Dex begins to teach his son control, and the Rules, and the methods by which our beloved “serial killer who kills serial killers” carves out his vengeful art. All while ghost-Deb in his head rages and rants, a far departure from Harry’s calm capability. Which, while that would’ve been a perfectly fine legacy to leave Dexter’s wayward son, we can feel Dex’s reluctance and fear in every single interaction with Harrison, and we know that Harrison sees it too. Any child of Dexter Morgan would be blessed, or cursed depending on how you look at it, with razor-keen intelligence.

Far too much time is spent dwelling on the sins of the parental units being visited upon the heads of the next generation, and not just for Dexter and Harrison, but also for Angela and her daughter Audrey, for the entire Caldwell clan, hell, the entirety of Iron Lake seems to have some serious Mommy/Daddy issues that absolutely no one wants to address. And while the adults are still, still, bemoaning their pasts and taking absolutely no responsibility for their own actions, life goes on for their children, who start making their own, even bigger and potentially deadlier, mistakes.

As for that rather bloody and final ending, of all the heritages Dexter Morgan could’ve chosen to leave his son with, I personally would not have gone with that one. If Harrison chooses a vasectomy as his next birthday gift, I would not be at all surprised. And while Jack Alcott delivers a brilliant performance as a typically rageful teenager with a very un-typical inheritance, let’s be honest, that’s not why we’re here. Once again, Dexter deserved better.

Get spattered by all the bloodspray in Dexter New Blood on Showtime now!

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Frogfathers lessons from the Normandy surf



Frog Fathers: Lessons from the Normandy Surf” is a deeply moving documentary directed by Bob Whitney, narrated by John C McGinley, and presented by World of Warships and FORCE BLUE. It chronicles the journey of four Navy SEAL veterans revisiting the site of the D-Day landings to honor their forefathers and gain a deeper understanding of the sacrifices made during World War II.

The film’s strength lies in its raw emotional impact and historical significance. It blends personal narratives with archival footage, offering a poignant tribute to the bravery and resilience of those who fought on June 6, 1944. The veterans’ reflections and the cinematography effectively capture the solemnity and reverence of their pilgrimage.

While the documentary focuses primarily on the veterans’ experiences, it also serves as an educational tool, highlighting the strategic importance of the Normandy invasion and its pivotal role in shaping modern history. The film’s respectful approach and engaging storytelling make it a compelling watch for anyone interested in military history and the enduring legacy of the D-Day heroes.

Overall, “Frog Fathers” is a powerful and heartfelt documentary that honors the past while inspiring present and future generations to remember the sacrifices made for freedom 

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American Horror Story: Delicate



As most of us are already aware, the 12th Season of AHS has been fraught with all kinds of differences to the previous seasons, mainly in that this is the first one to be based entirely off a novel, ‘Delicate Condition’ by Danielle Valentine. The first half of the season aired in October 2023 to mediocre reviews, while the SAG-AFTRA strike caused production and airing delays for the latter half of the season, and the episodes of Part 2 were all cut to less than an hour long apiece. And none of that is even getting into the disjointed attempt at storytelling for Season 12, so let’s dive into this! 

Meet Anna Victoria Alcott (Emma Roberts), former young ling star of Hollywood now struggling to recapture fame as an adult, who wants a baby, very very badly. Bad enough to drive herself and her husband Dex (Matt Czuchry) through multiple unsuccessful rounds of IVF (in-vitro fertilization), bad enough to keep trying no matter how crushing each failure turns out to be, bad enough to involve her purported best friend and bougie publicist Siobhan Corbyn (Kim Kardashian) in her struggles, and maybe, just maybe, bad enough to give up on a burgeoning resurgence of her career after interest in her comeback role for The Auteur begins garnering her Oscar-worthy attention. 

So, Anna and Dex are going to go through yet another round of IVF, likely one of their last attempts at it, from a different doctor, Dr. Andrew Hill (Denis O’Hare), and clinic based on Siobhan’s recommendation. And already, strange things are beginning to happen to Anna – her appointments that she set herself begin springing up incorrectly, a doom saying woman called Preacher (Julia White) shows up spouting warnings about trusting no one, dire warnings appear in unlikely places, and BTW, it seems as though long-suffering but good-nurtured Dex has a side-piece too. It doesn’t help that Dex’s new partner at his art gallery, Sonia Shawcross (Annabelle Dexter-Jones), bears a striking resemblance to his dead ex-wife Adeline, either. Those spiked emerald heels start appearing weirdly too, and it seems as though no one will listen to Anna as she grows more and more suspicious that some sort of sinister cult has designs on her as-yet-unborn baby. At the same time, Anna tries to live the life of a successful returning actress, attending parties and gallery openings while draping her rapidly-expanding middle in shimmering fabrics and actively ‘campaigning’ for that little golden statue that most actors covet. Competition is fierce, even among her co-stars of The Auteur, and while Anna wants to be supportive of her fellow entertainers, she clearly appears to be incapable of doing both at the same time – wanting the baby and the little gold award at the same time is too much to ask, apparently. 

Elsewhere, mostly in the past, various women in states of desperation formed from one situation or another are visited by sinister-looking women in prim black dresses, headgear reminiscent of – to me anyway – an odd cross betwixt birds and bunnies, my guess is an ostensive nod to fertility in general, and a general feeling of blood-bound witchery about them at critical moments of crossroad choices. 

Though the second half of the season moves a good deal faster than the first, the attempts at callbacks and reminder flashes to Part 1 hit with all the impact of a dropped bag of garbage onto their friends Talia’s (Julia Canfield) borrowed bougie kitchen floor – splat, into incomprehensible silence, from all parties, both characters and audience, concerned. Even the reminders that, in Part 1 of Delicate Dex’s mother Virginia Harding (Debra Monk) did indeed have perfectly valid memories of abuse at the hands of a black cult and Dex’s own father Dex Sr. (Reed Birney), the revelation pales and peels away in the face of Dex’s true parentage. 

Which brings us back around full circle kinda sorta, to the only real character worth a damn in this entire miserable season of strange feminism and aspirations of world domination through a kind of idiotic Rosemary’s Baby nightmare scenario, we should have known she’d steal the show when Kardashian was cast for it, Siobhan Corbyn, leader of the blood cult her high and mighty (old) self. Throughout the whole show her character has remained exactly the same, and it’s a wonder Anna can stare at her all stupefied while Siobhan does her villain speech at the end of the last episode. Siobhan never masked her ambition or greed, her mysterious protective vibe and even deep love for Anna, and can always be counted on to have secret plans of her own, already in motion, bitch. 

The idea that Anna herself was used as a surrogate for Siobhan and her incestuous eugenicist plans, plus the sweet little demon baby she just birthed, has an ironic the-world-is-tilting-the-wrong-way kind of witchy madness to it. Sure, Anna really can have it all, the baby and the golden statue, if only she joins the patriarchy-crushing cabal of blood witches with world domination plans, got it. 

I have questions, or I would have, but things are moving on and Anna is being saved by … Dex’s dead ex, Adaline the former member of the coven right okay her, she’s going to show back up and offer Anna a simple chant to Hestia her patron Goddess, and that is somehow enough to deal with Siobhan entirely – poof. And finally, after all that rigamarole, decades of planning and scheming and witchy plotting finally settled, Anna really can have it all as a White Witch of Hollywood, heaven help us, with her perfectly human baby and that damned little golden statue, clutched in an only slightly desperate grip. 

As with any season of AHS there are a great deal of statements that could be implied just under the skin of the season – the canker way of ambition, the millenia-old pain of a woman giving birth, the savagery and bloodshed that comes with bringing forth life, pushback against both the patriarchy and ultra-feminism, the absolute desperation of humans wanting to have a child, and perhaps strangest and most open to interpretation of all, what it means to be feminine. The worlds population of women who can’t or don’t or simply won’t have children, for any reason or none, are relegated to servants, expendable servants at that, for this new world order that Siobhan is proposing, and that is far too close a comfort to things like outright slavery. A dictator is a dictator, no matter how great she looks in those emerald spiked heels. 

It’s not the really beautiful grotesquerie that Ryan Murphy and his AHS gang are often known for, nor is it utterly terrible and should be burned at the stake. What Delicate should be, is put back together with missing and cut footage, an hour long per episode again come on folks, fleshed some more of Siobhan’s baby-stealing adventures in the past and given us an actual reason to like anything about the whiny Anna, at least the Part 2 we as longtime AHS fans deserve. Toss in some more spidery hijinks! Give us the actual origin of those weird feather bunny-ear headdresses! 

American Horror Story Delicate the whole season can be seen on FX! 

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Unveiling the Epic Journey of Ayrton Senna: Netflix’s New Limited Series



Buckle up, racing enthusiasts, as Netflix gears up to premiere its highly anticipated limited series, “Senna,” in late 2024. Delving into the captivating life and career of Formula 1 legend Ayrton Senna, this six-episode fictional saga promises to deliver an immersive experience like no other.

In a mesmerizing teaser video released today, viewers catch a glimpse of the adrenaline-fueled world of Formula 1 as they witness the recreation of Ayrton Senna’s historic victory at the 1991 Brazilian Grand Prix. Narrated by the iconic Galvão Bueno, the teaser provides a tantalizing peek into Senna’s triumph on the Interlagos circuit, a pivotal moment in his illustrious career.

Portrayed by the talented Gabriel Leone, Ayrton Senna takes center stage as the series chronicles his journey from the genesis of his motor racing career in England’s Formula Ford to his tragic accident at the San Marino Grand Prix in Imola, Italy. Through triumphs, disappointments, joys, and sorrows, viewers will be taken on an emotional rollercoaster, unveiling the true essence of one of the greatest sports heroes of all time.

But “Senna” is not just about racing; it’s about the man behind the helmet. The series delves deep into Senna’s personality and personal relationships, offering a nuanced portrayal of the enigmatic figure who captured the hearts of millions around the globe.

Behind the scenes, “Senna” boasts an impressive lineup of talent, with Vicente Amorim and Julia Rezende serving as showrunner and co-director, respectively. Produced by Gullane in collaboration with Senna Brands and the driver’s family, the series promises to stay true to the spirit of Ayrton Senna’s legacy.

Joining Gabriel Leone in bringing this epic tale to life are Alice Wegmann as Lilian Vasconcelos, Camila Márdila as Vivianne Senna, Christian Malheiros as Maurinho, and a stellar international cast including Kaya Scodelario, Arnaud Viard, Patrick Kennedy, and more.

From the exhilarating race tracks to the intimate moments behind closed doors, “Senna” offers a front-row seat to the captivating story of a racing icon. So rev up your engines and mark your calendars for the premiere of “Senna,” coming soon to Netflix. Get ready to experience the thrill, the drama, and the legacy of Ayrton Senna like never before.

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