We have all seen the flood of super
hero films released into theaters over the past several years as well as a resurgence of super-hero TV
shows.
But I want to look at how the super
hero premise has been used with very non-traditional and even
unlikely subject matter, in two TV series, specifically.
Firstly, I like to define the term
super hero very broadly, not just someone with incredible
strength or the ability to transform themselves physically, or even a
being who harnesses science or technology to evolve themselves
(whether intentionally or as is often the case, through some
accident) but any individual who has a unique talent that can be used
for good or ill and that involves great moral responsibility. Other
traits include a nemesis, and often a mentor figure, as well as the
necessity to hide his or her identity from the World at large.
That said, I now want to point out how
these traits can exist outside of the mainstream super hero world
that we have come to know.
The show that got me started thinking
about this topic in the first place is the Showtime series Dexter.
Loosely based on a series of novels by
author Jeff Lindsay and starring Micheal C. Hall in the title role,
Dexter Morgan is the survivor of—and eyewitness, at the age of
three—to the violent murder of his family by a serial killer. The
premise of the character is that somehow witnessing these killings
has so traumatized Dexter Morgan that as he grows into adulthood he
becomes a serial killer himself.
Yet Dexter is no brute, but rather a
highly intelligent, courageous, and compassionate individual. What is
so wonderfully creative about this series is that it elevates a
personality who traditionally has been a force of evil and abhorrence
in movies and TV and makes him a sympathetic character and a strong
protagonist, in other words someone that we can cheer for every week.
I think its fair to say that before Dexter, the only other
time that such a feat was accomplished was by Hitchcock, in his film
Psycho.
With Dexter Morgan, the real brilliance
is that in each episode the writers have him pitted against killers
and brutes who have no conscience or moral center—while Dexter
possesses both.
Dexter's uniqueness, his power, is not
that he is super-strong or the product of a scientific mishap or some
genetic engineering gone awry, but rather his extreme intelligence
and self-discipline along with, and in the wake of, his killer
instincts. He is a man who knows that he harbors the characteristics
of a vicious killer but who has at the same time made a conscious
decision to direct his violent impulses toward ridding the World of
those who kill without conscience.
While he is different from the
traditional super hero per se, Dexter is similar in that he too
finds his uniqueness a curse rather than a gift and is constantly
struggling to direct it and to resist the temptation to use it for
destructive ends.
Dexter owes much of his persona to his
mentor figure, his foster father Harry, the ex-cop who actually
rescued him, as a small child, from the scene of the horrific
murders. Even though Harry (played by James Remar) is long dead at
the time the series takes place, he frequently appears as a
ghost-like manifestation and gives Dexter advice and moral guidance to
help steer him in the right direction when his darker side comes
calling.
Additionally, like other super heroes,
each new season, Dexter is presented with a new nemesis—someone who
also possesses incredibly dangerous and vicious tendencies and who
seeks to either co-op Dexter to his side or to destroy him.
And, like the tradition SH model,
Dexter has a day job (as a forensics investigator, an irony as much
as the perfect cover for what he really does) where his friends and
colleagues—and even spouse—are totally unaware of his true nature
and internal struggle, except on rare occasions where he comes close
to being exposed but through his own guile and resourcefulness is
able to keep his secret intact.
The bottom line is that this approach
works very well and Dexter gives us is a very non-traditional
super hero, with Dexter Morgan, the genre has been re-envisioned.
While you can argue that Dexter
is in many ways unique as a TV show, I feel that we will likely see
more of this kind of premise—the every day super hero who springs
from the mundane and the unlikely circumstances.
While Dexter is a highly
successful, high profile TV show, I think its important to point out
another, lower budget, much less known example; the very well made,
albeit very short-lived, British series from 2001 called Second
Sight. While this BBC show
adheres much less to the SH conventions we've already discussed, I
feel it really merits a nod because of how much it does pull off.
The
series stars a then almost unknown Clive Owen in the role of
detective inspector Ross Tanner, head of an elite urban murder
investigation unit who, while an already rising star on the police
force, is diagnosed with a rare retinal disease which he is told in
the pilot episode will leave him completely blind in a matter of
months and which causes him frequent bouts of near total temporary
blindness which he cannot control.
In the process of
trying to conceal his illness so that he can stay on the force as
long as possible, since this the only career and life that he has
ever known—the show begins with him being estranged from his
ex-wife and young son—Tanner discovers that these bouts of
blindness give him unique insights into the people and situations
that he is investigating each week, putting him into an almost
Gestalt-like state of being.
What is also really
great about this show is how convincing Owen's performance and the
show's scripts are at depicting his attempts to conceal his
blindness, to the point of his learning the layout of the squad room
blindfolded so that when he experiences his attacks of lost sight,
co-workers do not suspect. Also, Ross Tanner, like other traditional
super heroes, must enlist the help of a small circle of confidants to
assist him in keeping his police superiors from finding out.
The believable
premise is maintained all the way to to the end of the series in
which Tanner finally succumbs to permanent blindness—yet Tanner
ultimately feels that this experience has been more of a gift than a
disability. In many ways, Tanner is a much better person, husband,
father, friend, than he was—career-driven, workaholic— before his
transformation.
I really recommend
that everyone check out both of these shows.
I feel that other
genres are being stripped down and re-envisioned in this way—film
noir most notably.
Next time I want to
discuss how FN is finding new expression in TV in the form of the FX
series,
The Shield,
along with AMC's show Breaking Bad.
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