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Dexter on Paramount+ review: One of modern pulp TV's great creations is still tremendous fun

Dexter on Paramount+ review: One of modern pulp TV's great creations is still tremendous fun

Irish Times11-07-2025
Serial killer drama Dexter got away with murder when it hand-waved away an atrocious final season and started over with 2021's Dexter: New Blood. The bloody good times continue with another sequel series, Dexter: Resurrection (
Paramount+
, Friday), which relocates
Michael C Hall
's charming chopper to New York, where he crosses paths with a coven of serial killers.
It's grippingly giddy viewing – and the ever-reliable Hall is joined by a high-wattage cast including
Uma Thurman
,
Krysten Ritter
and
Peter Dinklage
. There are also cameos from various figures from Dexter's past – fans of the original show, which blazed a bloody path from 2006 to 2013, are sure to have fun ticking off the returning names.
Dexter arrived during the glory days of prestige TV – it debuted four years after The Wire and 12 months before Mad Men. But it never quite had the quality to rank alongside such classics, and its charms were generally of the ludicrous variety before it ultimately went off the rails – a decline in quality that has gone down in the annals of popcorn television.
Rock bottom came in the 2013 finale when Dexter vanished from his hunting ground in Miami during a hurricane, faked his death, and relocated to upstate New York. That's where Resurrection begins after Dexter begged his son Harrison to kill him last season. That was to help Harrison expunge his own murderous instincts. He failed, however, and Dexter wakes in hospital with his child having vanished.
READ MORE
He is happy to recuperate while interrupted by demons from his past. But when Dexter hears of the killing in New York of a sexual predator, he recognises the murderer's methods as his own. Harrison (Jack Alcott) is on the prowl and seemingly continuing Dexter's mission of using his gory gifts not for evil but good (by taking out the genuine monsters in society). And so it's off to New York in search of his son – only to discover more than he bargained for.
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Hall is solid as the blankly suave Dexter and delivers an impressive portrayal of a man with plenty bouncing around inside his head but with a cold emptiness where his soul should be. As with previous incarnations of the franchise, the going is thoroughly hokey – but it's still tremendous fun. One of modern pulp TV's great creations has never felt more alive than in the enjoyable Dexter: Resurrection.
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Retro tv is good for the soul
Retro tv is good for the soul

Extra.ie​

time3 hours ago

  • Extra.ie​

Retro tv is good for the soul

How many of us can instantly recognise a character or a theme tune from a tv show we used to watch as kids and feel all warm and fuzzy inside? Depending on what era of television you grew up with, your memories of childhood tv will be different from others, and what you find comforting will also differ from friends and colleagues, depending on their own individual memories of when they first watched the shows. But television as a type of therapeutic comfort is becoming more and more of a thing, with the increasing stress of just day to day living, its nice to switch on, and just switch off. Pic: Getty Images There have been many studies done on the effects of television on our wellbeing, and Will Meyerhofer, a New York-based psychotherapist and author, says watching our favourite old shows can be a useful tool for dealing with anxiety and mild depression. These old shows are like the food we grew up with, like 'The Brady Bunch' or 'The Little House on the Prairie' for all of us 70s kids, or for younger people, those who grew up in the 80's and 90's shows like 'Fresh Prince of Bel Air' and 'Friends' are like a warm blanket on a cold day. The Brady Bunch – Mandatory Credit: Photo by Paramount/Kobal/REX/Shutterstock (5873048d) Think back to when you were 11 or 12 years old, what were the shows you watched then, the one show you looked forward to every week, because try telling todays 11 or 12 year old's that you had to wait a whole week for the next episode of 'Dallas' and they would think you were stone mad. What do you mean you couldn't just stream it? Like a bowl of hot soup on a winters day, a nostalgic tv show from our youth can serve as a lovely reminder of the days when we didn't have much to worry about really, in comparison to our adult lives. FRIENDS – (Photo by Reisig & Taylor/NBCU Photo Bank/NBCUniversal via Getty Images via Getty Images) A recent Facebook post on 'The Mighty' health community got hundreds of responses to the question: 'What TV show from your childhood would you want to marathon-watch on a bad day?' The answers ranged from 'The Waltons' to 'Barney Miller.' (I had to look that one up) It's very simple when we think about it, television from yesteryear can make us feel safe and secure in a world that feels increasingly chaotic. Back to Dr. Meyerhofer for a moment, he explains that 'In therapy terms, it's an instant, and for the most part healthy regression in the service of the ego,' adding that he unwinds with old episodes of 'Star Trek The Next Generation.' Beverly Hills, 90210. Pic: mikel roberts/Sygma via Getty Images Another expert in nostalgia research is Krystine Batcho, who is a licensed psychologist and a professor at Le Moyne College in Syracuse, New York. She says watching our favorite old TV shows satisfies our 'nostalgic need' and packs real emotional benefits. According to Professor Batcho, 'When people are stressed, or anxious, or feeling out of control, nostalgia helps calm them down'. Re-watching 'Friends' or 'Beverly Hills 90210' can literally 'bring back memories and feelings of the friends you had back then and the fun times you had together,' she said. Home and Away – Photo: Seven Network. And, if we're with new friends, either in person or on social media, chatting about our fondness for these old programmes can make us feel connected, and some parents have even started bonding with their kids by watching retro tv shows together. For a moment, step back into the old days when we had just one or maybe two channels, when we had to wait for our favourite show to start, we had no way to record it, just memorise it, and wait a full week to 'see what happens' in the next episode. And it didn't do us any harm at all.

Gwyneth: The Biography review - Gwyneth Paltrow's world is notoriously hard to break into. This book takes a shot
Gwyneth: The Biography review - Gwyneth Paltrow's world is notoriously hard to break into. This book takes a shot

Irish Times

time8 hours ago

  • Irish Times

Gwyneth: The Biography review - Gwyneth Paltrow's world is notoriously hard to break into. This book takes a shot

Gwyneth: The Biography Author : Amy Odell ISBN-13 : 9781805465713 Publisher : Atlantic Guideline Price : €15.99 Gwyneth: The Biography opens, where else, with the vaginal egg, an episode that has come to stand for Paltrow's general ability to sell dumb ideas to credulous rich women using widespread mockery as her marketing rocket fuel. (In case you need a reminder: this was the $66 jade egg Paltrow sold via her lifestyle brand Goop that promised various health benefits upon insertion.) Amy Odell's book, billed as delivering 'insight and behind-the-scenes details of Paltrow's relationships, family, friendships, iconic films', as well as her creation of Goop, takes no particular stand on this, nor on many of Paltrow's more divisive episodes, instead offering us what feels like an earnest jog back through the actor and wellness guru's years of fame. The author writes in the acknowledgments that she spoke to 220 people for the book, in which case we have to assume that a great many of them had little to say. To be fair to Odell, whose previous biography was of Anna Wintour , another difficult and controlling subject – although Wintour did give Odell some access – Paltrow's world is notoriously hard to break into if she's not on board with a project; the author quotes numerous hacks tasked with profiling Paltrow for magazines who found themselves iced out of her networks, and the same happens to Odell in the early stages of research. Odell's task only gets harder in the second half of the book, which tackles the Goop years. Since, she claims, many of its staff signed NDAs, those sections lack even the modest stream of gossip that enlivens the first half. [ I'm pulling the Goop plug – no jade eggs are going in my yoni Opens in new window ] Which, by the way, is perfectly enjoyable. I ripped through Odell's account of Paltrow's youth as the simultaneously indulged and benignly neglected daughter of two show business big guns, the actor Blythe Danner and the producer and director Bruce Paltrow. Danner is prim and unemotional; Bruce Paltrow is more demonstrative but still emotionally evasive, and Odell reheats some well-documented episodes between father and daughter, such as the trip they made to Paris when Paltrow was about 10, during which Bruce told her: 'I wanted you to see Paris for the first time with a man who will always love you, no matter what.' (Paltrow, in interviews, has always offered up this story as a moving tribute to her dad's love for her.) Odell also tells us the (I think) new detail that, when Paltrow was older, 'her dad once gave her lace underwear as a gift'. It's a small addition but it stands out against what feels like the book's trove of reconstituted material. In 1984, when Paltrow was 12, the family moved from LA to New York . We learn that she felt outclassed at Spence, the Upper East Side private school where the money is older and the blood bluer than in the Danner-Paltrow household. We also learn that, in spite of this, Paltrow – whose biggest nightmare is listed in the senior school yearbook as 'obesity' – manages to form a clique around herself that may or may not have been involved in the drawing of a penis on the library wall. It's small potatoes but we'll take it. READ MORE Odell goes into great depth about the Williamstown theatre festival – presumably because the old theatre lags actually agreed to talk to her – a storied annual event in rural Massachusetts where Danner takes her daughter every summer, first to watch her mother on stage, and later, to act herself. I liked these passages, in which you get a real sense of a summer stock scene that has always attracted top actors and their nepo babies. At one point, a barely teenage Paltrow takes the assistant director's seat and the head of the festival fails to ask her to move. Paltrow is entitled, wan, sometimes foul-mouthed, intensely focused and in these scenes, really comes alive. By studying her mother on stage, she learns how to be an actor. And so on to the Hollywood years, where everything becomes less fresh and more familiar. We slog through the background to productions of Emma, Shallow Hal and Shakespeare in Love and then we get to Harvey Weinstein , who during the first flush of #MeToo, Paltrow accused of making a pass at her. Odell quotes from Jodi Kantor and Megan Twohey's book, She Said, but there's not much more to be harvested on a story broken and pursued by such good reporters. What's left is a trawl through a lot of things we already know – although there is one very funny motif from those years, which involves Paltrow miming throwing up behind the backs of people she dislikes, one of whom is Minnie Driver . (Team Driver all the way, here, obviously.) Also an old friend of Paltrow's claims 'she invented ghosting', which sounds about right. Finally, Goop: this was a story I hadn't been paying much attention to lately, and so a genuine surprise of the book is to learn that the company founded by Paltrow in 2008 has been a much shakier business than advertised. We know that Goop paid to settle a lawsuit brought by the California Food, Drug and Medical Device Task Force over false claims about the health benefits of the vaginal eggs. And we also know it accepted judgments by the US National Advertising Division about other false claims. But, as Odell puts it, Paltrow's 'middling run as the CEO of Goop' has ensured that the company 'hasn't experienced sustained profitability … and has lacked a clear business strategy as it pingpongs from one of Gwyneth's ideas to the next'. Here's a reveal: that Paltrow is such a massive cheapskate she used Goop's food editors to cook for her. 'In the office,' writes Odell, 'it was common knowledge that the food editors would go to Gwyneth's house after work and make her dinner under the guise of 'recipe testing'. When she and Brad Falchuk were living apart, the food editor would bring dinner to his house, too, which wasn't a light lift in LA traffic.' She also asked vendors to donate their services to her and Falchuk's wedding in return for advertising. Gwyneth Paltrow at a special screening of The Goop Lab in Los Angeles, California, on January 21st, 2020. Photograph:The difficulty with all this is that Paltrow is a charmless subject who never rises to the level of monstrous. She's an actor, a so-so businesswoman – Kim Kardashian , as Odell points out, has had much greater success with her company, Skims. The story, then, is less about how Paltrow became this figure in the culture than why on earth she was elevated in the first place. Odell doesn't have the time or the inclination to get into this, instead offering pat lines such as, 'love her or hate her, for over 30 years, we haven't been able to look away'. At the very end, Odell draws a line between Paltrow's peddling of pseudoscience on Goop and Robert F Kennedy Jr, 'a fellow raw milk drinker' and Trump's vaccine-sceptical health secretary, which feels like a sudden turn towards a more interesting and confident authorial voice. If only it had piloted the whole book. – Guardian Gwyneth: The Biography by Amy Odell is published by Atlantic

The Naked Gun review: Liam Neeson a bit of a puzzle amid big dumb fun
The Naked Gun review: Liam Neeson a bit of a puzzle amid big dumb fun

Irish Times

time9 hours ago

  • Irish Times

The Naked Gun review: Liam Neeson a bit of a puzzle amid big dumb fun

The Naked Gun      Director : Akiva Schaffer Cert : 15A Starring : Liam Neeson, Pamela Anderson, Paul Walter Hauser, Kevin Durand, Danny Huston Running Time : 1 hr 25 mins When, way back in 1982, Jim Abrahams and the Zucker brothers launched Police Squad! – TV forerunner of the Naked Gun films – the cop shows being parodied were already drifting out of fashion. Those pompous episode titles and woody performances were riffing on Quinn Martin series from the previous decade (and farther back than that). A malcontent in the 21st century might reasonably wonder what possible sense a 'legacy sequel' could still have. 'They don't make cop movies any more,' a Zucker brother said not so long ago. 'When you do parody, you've got to spoof something current.' You may as well launch a comedy aping the conventions of medieval mystery plays. Right? Akiva Schaffer, director and co-writer of the first Naked Gun film for more than 30 years, has taken some of those arguments on board. You will detect a few riffs on Tom Cruise's Mission: Impossible adventures. There are (obviously) a few more on Liam Neeson 's recent run of revenge thrillers. Contemporary pop culture works its way in. But the new film essentially works within the old structures. Neeson, as Frank Drebin jnr, son of Leslie Nielsen 's original dumb copper, still works at an old-school Los Angeles precinct with grumpy men in lounge suits. The films seems to think 'content creators' still deliver mystery dramas in which officers stand off against evil geniuses in southern-California mansions. READ MORE None of that matters. It never did. The same team's Airplane! still plays well with audiences whose parents were barely sentient during the 1970s disaster-movie boom. The Naked Gun was a joke-delivery system whose allusions to Cannon and The Streets of San Francisco were mere decoration. The current Naked Gun has its flaws, but none of them stems from anachronism. It is at its best when playing with the original series' deadpan linguistic misunderstandings. 'You can't fight City Hall,' the set-up comes. 'No ... it's a building,' comes the reply. As before, the character delivering the feed doesn't point out that wasn't quite what he meant. The conversation carries on as if that was what he meant. The Naked Gun: Eddie Yu as Detective Park, Liam Neeson as Frank Drebin Jr and Paul Walter Hauser as Ed Hocken Jr. Photograph: Frank Masi/Paramount Pictures The supporting cast are all on board with this conceit. Pamela Anderson , still enjoying her deserved renaissance, accommodates the straightest of faces to a noirish simmer. Danny Huston is equally strong as an evil billionaire who doesn't believe anyone so dumb as Drebin can thwart his plans. CCH Pounder does good angry boss. Paul Walter Hauser is an ideal sidekick. [ Liam Neeson: From Paisley-loving Catholic boy to actor, then action man, now comedy star Opens in new window ] Neeson himself is more of a quandary. He's never bad. He doesn't kill the joke. But it does feel as if too much acting's going on. Somewhere in here there's a line about being 'the same as you but completely different and original'. It is, unfortunately, impossible to watch a second of Neeson without considering Nielsen's heroic blankness. Our man looks to be making the unfortunate, though not fatal, mistake of trying to make sense of every line. Drebin jnr is thinking things through. His dad allowed no such complicating process. [ Pamela Anderson: 'I felt like life was really like death for me' Opens in new window ] That reservation aside, it must be admitted that, against the odds, the team do a largely satisfactory job of reanimating the corpse. I'm not sure audiences will have quite as much fun watching the thing as the writers plainly had getting it on to the page. But they have certainly stuck to the brief with admirable diligence. The inevitable backward-looking cameos are kept to a bare minimum. Nobody expects you to follow the preposterous plot. Some of the funniest jokes are held for an extended end-credit sequence that expands brilliantly on a solid recurring gag from the original series. We deserve some big dumb fun. We always do. [ Magic movies: The 25 best comedies of the past 25 years – in reverse order Opens in new window ] In cinemas from Friday, August 1st

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