Reviving Dexter: Michael C. Hall’s Comeback in Paramount+’s Entertainingly Frustrating Franchise Reboot

If you’ve seen films or shows about compulsive gambling, you know the scene. The main character, battling their addiction, wins against all odds. They might pay off the mob, reopen a community center, or buy back a cherished wedding ring. It’s a moment of triumph—a brief escape from their demons. But then, someone inevitably says, “Double or nothing?” As viewers, we scream at the screen, urging them to stop while they’re ahead. We forget they’re dealing with an addiction.

This is the crossroads Dexter faces in Dexter: New Blood.

The recent revival of our beloved Miami serial killer aimed to mend the disappointment of the original show’s ending from nearly a decade ago. Creator Clyde Phillips, along with several producers who weren’t behind that less-than-stellar finale, worked hard to pave a more satisfying path for Dexter Morgan.

And it worked—sort of. While Dexter: New Blood faced its challenges, such as a rushed feel and derivative elements, it showed that the franchise still had some creative juice left. Dexter’s fate—seemingly dead in a cold landscape—was a fitting, twisted end, tying back to the series’ roots.

Now we have Dexter: Resurrection, described as Philips’ high-stakes gamble. If New Blood was about necessity, this new installment is driven by desire, leaning into a lighter tone. The creators healed the show, but do they risk breaking it again?

The first four episodes hint that this season might feel frivolous. It’s almost like the creators are having fun, moving away from the serious flavor of New Blood. Callbacks and familiar tropes abound, echoing earlier storylines but also veering into silliness. If you liked the slightly absurd nature of the earlier seasons, this could still entertain you.

We start with Harrison, Dexter’s son, who believes he’s left his father for good. He’s attempting to carve out a new life as a hotel worker in Manhattan and even befriends a single mother. Yet signs of his father’s legacy linger. Meanwhile, Dexter—surprisingly alive and not in custody—heads to New York after rumors of a serial killer surface.

This killer, dubbed “The Dark Passenger,” adds a layer of urgency to Dexter’s journey. It’s ironic to see Dexter, a “red state” character, navigating New York—a city bustling with crime—yet it doesn’t contribute much to his character growth. Instead, it merely changes the backdrop for familiar themes.

Introducing new law enforcement characters invigorates the story. Old friends like Angel return, but with an air of skepticism that feels fresh. Meanwhile, Harrison’s character enriches the narrative, although his role sometimes seems more like an echo of Dexter rather than a true evolution.

Michael C. Hall’s portrayal of Dexter lacks the depth it once had. Each season often revisits similar themes—relationships and the struggle for self-acceptance. Yet, with every repetition, the stakes seem to get diluted. The thrill of his encounters with other characters has shifted from compelling to predictable, almost monotonous.

As viewers, we’ve reached the point where every encounter is with serial killers. The novelty is wearing thin. This season features an ensemble of quirky characters played by well-known actors like Neil Patrick Harris and Krysten Ritter. But, similar past characters felt richer and more complex.

One notable character, played by Ntare Guma Mbaho Mwine, stands out. He could anchor a fascinating story of immigrants in the gig economy, drawing attention to issues often overlooked… a missed opportunity, for sure.

It’s uncertain where Dexter: Resurrection is headed. Is it setting up a permanent NYC home for the franchise, or is it merely jumping to different locations without a clear direction? Only time will reveal whether this series can thrive once more or if it should have embraced its ending.

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