Dearly Defensive Dexter: The Showrunners Discuss the Final Season - Dread Central
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Dearly Defensive Dexter: The Showrunners Discuss the Final Season

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EW

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http://insidetv.ew.com/2013/09/23/dexter-interview-series-finale/

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Dearly Defensive Dexter: The Showrunners Discuss the Final SeasonWhile I wasn’t thrilled with the final season of “Dexter” on the whole, I loved the finale. It ranks just behind “The Sopranos” and “The Shield” for me in terms of shows that brought their stories to an effective close.

The real oddity behind “Dexter” is that I’m not sure how they did it, considering the blasé episodes that preceded it.

But here’s the thing. A recent Entertainment Weekly interview with “Dexter” showrunner Scott Buck and producer Sara Colleton feels more than a little disingenuous when it comes to addressing fan criticisms of this final season. Here’s a snip of the EW story that came online yesterday. Click the link at the bottom of the page for the whole thing.

EW: In a way, Deb sort of gets what she’s wanted for most of the season.

BUCK: That’s true in a way. There’s one point where she wanted exactly that. But she makes a turn two thirds through the season. Things are looking up for her. She was seeing a possibility for happiness. The death she may have wanted at one point was the last thing she wants right now.

The problem with this isn’t where Deb ended up. That was a perfect fate for the character who meant so much to Dexter throughout the years. The problem is that the season started off so great with Deb’s hatred of Dexter growing astronomically, only to have it magically cured in Episode 5 (the worst episode in the series). The fact that she went from self-loathing drug addict back to old Deb in the span of a single episode wasn’t just unbelievable. It was insulting.

EW: Some fans were disappointed by this season. Were you happy with the episodes leading up to the finale?

BUCK: Even if i don’t write an episode, I’m still in charge. I take full responsibility. We all work cohesively as a team. If people think the final episode stood out, it’s probably because it’s been sitting in my mind for so long. It’s a difficult question to answer.

COLLETON: I think some episodes worked better than others. But as a whole the Deb and Vogel story lines worked, and we wanted to change it up and have the big bad hide in plain sight. Darri Ingolfsson, who plays Saxon, he’s fabulous once you realize [he’s the brain surgeon]. The scene where he comes to Dexter’s apartment is a wonderful scene. I try not to read any of the blogs because then I become paralyzed. If they knew how much we agonized internally about everything… if we then tried to factor in an assortment of opinions, it would dilute the process.

I think these responses are the epitome of insincere. There are definitely moments in those first 11 episodes I enjoy, and I believe that’s a testament to the actors more than anything else. Because honestly, this season was a convoluted nightmare. From the Brain Surgeon twist to the inclusion of Dexter’s short-lived apprentice and even the political pressure hounding Miami Metro because of that kid. Nothing congealed in the way it should’ve. Deb’s aforementioned magical cure, Hannah moping around the house with absolutely nothing to do (a real shame, since she was a great addition to the series last season), and even the Vogel character, who represented an interesting idea whose ultimate inclusion amounted to very little.

EW: One point of contention was some of the supporting story lines. Like, why spend time with Masuka and his daughter and Quinn taking the sergeant’s exam in the final season?

BUCK: We wanted to give some indication of where these characters were going. We wanted to give them all a bit of resolution toward the end. Masuka was a very small story; it took up a small amount of screen time. This is probably the most sexist character most of us have ever seen, and for him to have his first honest relationship with a woman and have that be his daughter felt interesting. As for as Quinn, we’re trying to spend time with characters that have been with us for a long time and we’re never going to see again.

And yet, none of this stuff had any bearing on the final episode. That makes it filler. The reason why the final episode works so well compared to the rest of the season is that it is focused. Suddenly, none of that other crap matters.

Which makes it a tragedy that they even had to bother in the first place.

When I published my “Dexter” discussion a few weeks ago, I received an anonymous email from someone that told me the behind-the-scenes strife on “Dexter” has been outrageous for several years. Creative freedom was stifled and the show was, quite obviously, kept running simply because it remained a lucrative cash cow. This jibes with other things I was told quite recently.

As a fan of the show, even through its murkiest moments, I find that sad to hear though it is the nature of the business. I remain surprised that “Remember the Monsters?” was an effective sendoff and feel like time will be kind to that finale, if not the season.

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Before We Vanish Review – A Quirky and Original Take on Alien Invasions

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Starring Masami Nagasawa, Ryûhei Matsuda, Hiroki Hasegawa

Directed by Kiyoshi Kurosawa


During the J-horror rampage of the late 90’s and early 2000’s, Kiyoshi Kurosawa’s Kairo (aka Pulse). A dark, depressing, and morose tale of ghosts that use the internet to spread across the world, the film’s almost suffocatingly gloomy atmosphere pervaded across every frame of the film. Because of my love of this film, I was eager to see the director’s upcoming movie Sanpo Suru Shinryakusha (aka Before We Vanish), which follows three aliens who recently arrived on Earth and are preparing to bring about an alien invasion that will wipe humanity from the face of the planet. Imagine my surprise when the film turned out to be barely a horror title but was instead a quirky and surreal dramedy that tugged at my heartstrings.

Admittedly, I was thrown completely for a loop as the film begins with a scene that feels perfectly at home in a horror film. Akira (Tsunematsu), a teenage girl, goes home and we enter moments later to blood splashed on the walls and floor and bodies strewn about. However, the disturbing visuals are spun around as the young girl walks down a highway, her clothes and face streaked with blood, Yusuke Hayashi’s music taking on a lighthearted, almost jaunty attitude. From there, we learn of the other two aliens (yes, she’s an alien and it’s not a secret or a twist, so no spoilers there): Amano (Takasugi), who is a young man that convinces a sleazy reporter, Sakurai (Hasegawa), of his true form and tasks Sakurai with being his guide, and Shinji (Matsuda), the estranged husband of Narumi (Nagasawa).

What sets these aliens, and their mission, apart from other invasion thrillers is their means of gathering information. They’re not interested in meeting leaders nor do they capture people for nefarious experimentations. Rather, they steal “concepts” from the minds of people, such as “family”, “possession”, or “pest”. Once these concepts are taken, the victim no longer has that value in their mind, freed from its constraints.

While this may seem like a form of brainwashing, Kurosawa instead plays with the idea that maybe knowing too much is what holds us back from true happiness. A man obsessed with staking claim to his family home learns to see the world outside of its walls when “possession” is no longer a part of his life. A touchy boss enters a state of child-like glee after “work” has been taken. That being said, there are other victims who are left as little more than husks.

Overly long at 130 minutes, the film does take its time showing the differences between the aliens and their individual behaviors. Amano and Akira are casually ruthless, willing to do whatever it takes to send a beacon to begin the alien invasion, no matter how many must die along the way, while Shinji is the curious and almost open-minded one, whose personal journey finds him at one point asking a priest to envision and describe “love”, a concept that is so individualistic and personal that it can’t be taken, much less fathomed, by this alien being. While many of these scenes are necessary, they could have easily been edited down to shave 10-15 minutes, making the film flow a bit more smoothly.

While the film begins on a dark note, there is a scene in the third act that is so pure and moving that tears immediately filled my eyes and I choked up a little. It’s a moment of both sacrifice and understanding, one that brings a recurring thread in the story full circle.

With every passing minute, Before We Vanish makes it clear that it’s much more horror-adjacent than horror. An alien invasion thriller with ultimate stakes, it will certainly have appeal to genre fans. That being said, those who go in expecting action, violence, and terror will certainly be disappointed. But those whose mind is a bit more open to a wider range of possibilities will find a delightful story that attempts to find out what it means to be human, even if we have to learn the lesson from an alien.

  • Before We Vanish
4.0

Summary

Before We Vanish is a beautiful, wonderful tale that explores what it means to be human when faced with the threat of extinction.

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Director Doug Liman Says Edge of Tomorrow 2 Could Be His Next Film

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I don’t know if you ever bothered to see the Tom Cruise/Emily Blunt sci-fi action flick Edge of Tomorrow, but if you missed out, you should make time for the stellar flick.

I kept putting the film off myself, but then when I finally peeped the Groundhog Day-style shenanigans contained within, I was a fan signed, sealed, and delivered D.O.A.

It is with this in mind I’m excited to share the news that Edge of Tomorrow 2 just might be director Doug Liman’s next film! Recently the director spoke with Collider and dropped some new info on the possible sequel.

“We’re just working on the script…,” Liman said. “[We’re no longer working on scheduling issues]; now it’s down to we have a window where we could go do it, and we’re frantically working on the script. It’s one of those movies that we’ll only go make if we love the script. It’s not one of those things where the studio is pushing us to make it and they don’t really care if it’s good or not. If the movie happens, it will be because Emily Blunt, Tom Cruise, and myself are passionate about making it, which is a great place to be. She doesn’t need this movie, he doesn’t need this movie, and I don’t need it. We’re gonna make it if we really believe in it. We have [a] story that the three of us love, so we’re working hard on the script.”

So when he was asked if the film could be his next flick, he said: “It could be. It has the possibility of being my next film.”

Good enough for me!

You can check out the trailer for the original film out again below; and for your own good, if you’ve been passing on the film for the last few years, give it a shot tonight. You will not be disappointed.

Synopsis:
When Earth falls under attack from invincible aliens, no military unit in the world is able to beat them. Maj. William Cage (Tom Cruise), an officer who has never seen combat, is assigned to a suicide mission. Killed within moments, Cage finds himself thrown into a time loop, in which he relives the same brutal fight — and his death — over and over again. However, Cage’s fighting skills improve with each encore, bringing him and a comrade (Emily Blunt) ever closer to defeating the aliens.

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Ash Faces His Greatest Challenge Yet in the Ash vs Evil Dead Season 3 Trailer: Parenthood!

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The first trailer for the third season of STARZ’s incredible horror comedy series “Ash vs Evil Dead” has been released and it’s full of balls to the wall Evil Dead goodness! You’ve got creepy dolls, obscene amounts of gore, vicious iPhone cases, and a Deadite that just so happens to be as tall as a building! Oh, and you’re also introduced to Ash’s daughter, Sandy? Mandy? Oh, yeah! Brandy! You can watch the trailer below. Thanks IGN!

“Ash vs Evil Dead” season three premieres on Starz on Sunday, February 25th.

Synopsis:
Ash, having gone from murderous urban legend to humanity-saving hometown hero, discovering that he has a long-lost daughter who’s been entrusted to his care. When Kelly witnesses a televised massacre with Ruby’s fingerprints all over it, she returns with a new friend to warn Ash and Pablo that evil isn’t done with them yet. But evil will learn to never get in between a papa bear and his cub.

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