We take an extensive look at Dexter’s character evolution in the seven aired seasons. How really has Dexter changed? And, what might be coming to our screens in season 8?

Season 1 – Existence

In the beginning Dexter followed Harry’s code to the word and never really gave any attention to his own personal feelings. Dexter never particularly expressed any desire to change and accepted the way he is will never change. His brother, Brian, represented the exact opposite of Harry’s code. Brian was a complete free spirit and lived by one rule, and that was there are no rules. Season 1 ended with Dexter’s strict adherence to Harry’s teachings ending up costing him his brother, and almost his sister Debra, too.

Season 2 – Possession

The beginning of the change. The second season introduced Lila, who represented the importance of dependence as she seduced Dexter making him connect far more with his inner self and begin to understand his own feelings. Dexter struggled with this when he had to make his toughest decision yet regarding Doakes.

When Dexter killed Doakes, this was either give in to his greatest weakness – the need to kill – or set Doakes free and ultimately risk revealing every secret Dexter had kept within. Doakes brought up suicide, and even planted emotions of regret and shame in Dexter’s mind, causing him to consider turning himself in. This again links strongly back to possession, forcing Dexter to make a decision which ultimately leads into the theme for season 3.

Season 3 – Trust

This mostly goes hand-in-hand with friendship, but it extends beyond that somewhat. There were parallels drawn between Dexter’s relationships with Miguel and Rita. Friendship and marriage are ultimately built on similar foundations of trust.

Miguel was the first person Dexter had let the door slightly open to, aside from Harry. Miguel was also Dexter’s first true friend and learnt of the life Dexter had hidden for years. He ultimately was the one character who Dexter thought he could share his inner feelings with, but it wasn’t to be. Dexter’s understanding of trust saw the stark contrasts of both ends, having been able to share his own inner-self, but also knowing that what Dexter revealed ran a very high risk of losing the life he longed for. Dexter learnt of the responsibility trust demands.

Season 4 – Responsibility

With family comes the great demand of responsibility and priority. Dexter eventually learned the hard way that you can’t just make careless appearances and not expect things that will eventually degrade. Dexter’s lack of responsibility became the sole reason for Rita’s death. Dexter needed a wake-up call of what was important in his life other than satisfying his need for killing his victims. Rita paid the ultimate price, and his relationship with Astor and Cody, with whom he’d been a pivotal figure in their development as young children. Trinity brought Dexter firmly back to the ground leaving him upturned and utterly confused. Dexter’s next mission was to learn about selflessness.

Season 5 – Selflessness

This season continued from season 4 in an undetected manner as Dexter was dealing with guilt over his brief and neglectful marriage. The things Dexter did for Lumen were essentially acts of contrition. Dexter knew his failed marriage was his fault and regretted it hugely, and looked for someone who needed to be looked after, to be fixed per se. Lumen was the gem he discovered and attempted to uncover. Lumen was an individual who was hellbent on confronting her demons and selflessly took on her own darkness, showing that faith was a strong tool that Dexter had ignored for some time. Dexter tried desperately to misdirect Lumen’s desires but in the end realised that selflessness is an important lesson to learn.

Dexter may have hunted these same eventual victims for the crimes that they committed, had he not met Lumen, but in the end Dexter understood that Lumen needed to deal with her own problems. Her “Dark Passenger” could only be conquered by her own inner strength. This was something Dexter had not quite attempted to do before meeting Lumen. Jordan Chase was the man who tormented her “Dark Passenger” and paid the eventual price when Lumen disposed of his life.

Season 6 – Faith

Dexter never really attempts to engage with his “Dark Passenger” but he gains a respect for the concept of faith. Dexter’s attitude towards faith is openly described by his attempts to get his son, Harrison, into one of the best schools in the area. Dexter is bluntly rude and mocks the religious teachings held in high regard by the school. Brother Sam was the man to change his perspective during this season.

Brother Sam was able to help him discover a capacity to trust that things will work out when they lie outside your control, that almost something external can help decide the outcome of your actions. Control is one of the most common themes that rides through almost every single season of Dexter, and when Harrison was gravely ill in the hospital, Dexter turns to faith as he is completely paralysed by what the outcome of Harrison’s health will be. The loss of control is something we have rarely witnessed in Dexter.

Travis represented the twisted ideology of faith, with Travis accustoming the role of the devil. Travis distorts faith and the interpretation of it in a radical fashion absolving all that is sin within religious values. Interestingly, Dexter learnt that faith gives hope to those who are in desperate need of it, when control is not a weapon to harness the outcome of a situation. What Dexter was not expecting was the then imminent arrival of Debra, discovering Dexter with a knife in Travis’ chest.

Season 7 – Love

Dexter has discovered that there are two different types of love, and that is innate love for your siblings and that of someone who you are meant to spend the rest of your life with. Dexter learnt that Debra is far more important that he ever realised, that they are bound by blood and that they still love each other no matter what obstacle they face. What is highly unusual here for a normal brother-sister relationship, is that it’s not every day that you discover your brother to be a serial killer. The intensity of this dynamic stems from Dexter lying to his sister for so many years of his life and that the uncovering of this secret came ever so very close to Dexter being one of the most notorious serial killers of all time within the world of Dexter.

Debra, who is now the Lieutenant of Miami Metro Homicide, is the most important figure in those four walls; and with Debra written in a way who is very much disciplined by morals, she should have turned Dexter in, but didn’t.

Dexter also found his soulmate. Hannah McKay is by far more compatible with Dexter than Rita ever was. It’s really hard to fathom, but Dexter shared more with her in one season than he did with Rita in four seasons. Their love is unquestionable for each other, and Hannah is almost a female double of Dexter. She’s a serial killer much akin to him, and accepts Dexter who for he is.

Season 8 – Acceptance?

Season 8 is most likely going to be the very last season of Dexter. Dexter has gone through a journey of transformation over the seven seasons, and it appears that this will be the season where all of these themes, or ingredients should we say, will be pushed to the limits. Season 8 should adhere to existence, possession, trust, responsibility, selflessness, faith and love, but what could be the next theme for Dexter to enslave?

This will all depend on the direction the writers will pursue. Dexter is firmly looking to hide in broad daylight with Debra over the death of La Guerta and Estrada. Hannah has also escaped from the hospital, and we last saw her leaving a plant on Dexter’s doorstep. It’s incredibly interesting to read into Dexter’s cryptic voiceover in the final scene, with him describing the situation as “the beginning of the end.” Will Dexter be going through similar notions of the five stages of grief in the final season?

Denial, anger, bargaining, depression and acceptance could be very relative themes to be explored in season 8. We just cannot wait.

Be sure to check out the potential last season of Dexter which will begin on June 30 over on Showtime.

It’s no surprise that Hypable loves Broadway. We selected a few shows made us get in touch with our emotional side. We were hit with a lot more feelings than we bargained for.

Kristina: ‘Once’

once broadway emotions

I saw Once at a very transitional time in my life. A junior in college living in New York City alone for the summer, I waited four hours one Saturday morning for a matinee rush ticket and ended up learning a lot more about the myself than the show.

My adoration for the show started not much earlier prior to that summer, I had heard “Falling Slowly” numerous times and saw the spoof of the show during the opening of the 2013 Tony’s, hosted by Neil Patrick Harris. But nothing could prepare me for seeing the full musical.

Once is not a sung-through show, but the story is small and a portion of the dialogue is spoken in Czech. After the first song (“Leave”) I burst into tears at the beauty of the music — the guitar and the vocals evoked my favorite genre alt-indie — and didn’t stop for long before I started again.

There’s no big theatrics, the main character’s names are literally Guy and Girl, he’s an Irishman armed with a vacuum (he’s a Broken Hearted Hoover Fixer Sucker Guy) and she’s a Czech woman living in Ireland trying to support her young daughter and help her family. They simply create good music together. Were this a rom-com, they’d end up together, and they do briefly flirt with this convention, but the show doesn’t go down this route, but rather their relationship remains platonic through the end of the show.

At intermission, I dried my eyes and made small talk with the woman at the merchandise stand. I asked if this show ever made her emotional and she told me she cried every time she say it (which, because she worked there part-time, was frequently). Whether she was telling the truth to make me feel better or lied as a part of a salesman’s tactic, I bought a $50 Once hoodie that would be ghastly anywhere but totally worth it to remember this experience.

That night, and for many more days and nights after, I played the Once soundtrack on repeat. Standouts such as “Leave,” “Gold” and “If You Want Me” totally buck the typical Broadway musical sounds and play more like a concert played in a small bar in Ireland.

Irvin: ‘Finding Neverland’


I’ll ‘fess up: I’m a crier. I cry at a lot of shows (Wicked’s “For Good,” Mamma Mia’s “Slipping Through My Fingers,” all of Les Miz). But those are all dignified single-tear-on-the-cheek affairs, and then I feel good about having had a good cry. Finding Neverland was not like that.

Finding Neverland was, for lack of a better term, emotional terrorism. Having never seen the movie about J.M. Barrie and his inspiration for Peter Pan, I knew that it was probably sad, but I did not expect to be sobbing so much I almost had to leave the theatre. Having lost my dad at age ten, something in me was triggered by Peter’s reaction to losing his parents, and I pretty much lost it at “When Your Feet Don’t Touch the Ground.” The musical, with its haunting melodies, perfectly captures the agony of losing a parent at a young age – how one’s entire world view is shattered by the realization that sometimes good people don’t get happy endings.

While I couldn’t relate to the other characters as well, not having been on the adult side of that painful situation, I could easily project their pain onto people I knew, so pretty much everything in the second act was setting me off. And the death scene was gorgeous, not done justice at the Tonys when Jennifer Hudson performed it out of context.

Finding Neverland is not a perfect show – there are some jarring tonal shifts, and the Act One closer is more bombastic than meaningful (“I need to be stronger! Stronger! Now I’m stronger! Stronger! Stronger!”). But in terms of emotional response elicited, it’s unmatched. I’d love to see it again… I just don’t think I can for a couple years.

Natalie: ‘Les Misérables’

les mis barricading my emotions

Are you really a Broadway fan unless you’ve interrupted yourself attempting to sing along to all the overlapping parts in “One Day More” at once? I think not. Given that I once wrote a 7000-word blog post reviewing Tom Hooper’s film version of this show, making this blurb concise is going to be one of the greatest trials of my life.

Les Misérables has been running consistently in London since it opened, but since the release of the 2012 film, the show has been revived worldwide, and I’ve seen it seven times on a Broadway-scale stage in the past few years. However, I first saw Les Miserables as a child, when it toured Australia in the ’90s, and I think I imprinted on it.

Over time, different aspects of the show have stood out to me in different ways — as a lovesick teen, I was all about Eponine and how unfair her plight was, as an adult fascinated by historical events I became filled with empathy for the naive revolutionaries, particularly the alcoholic skeptic Grantaire, who never believed their cause was worth dying for but loved his friends enough to die with them anyway.

My feelings about the show skyrocketed when I actually read Victor Hugo’s novel (despite the title, it’s actually got a light and lively tone, which makes the fact that everyone dies even worse, because they’re all so adorable and funny until they do) meaning that now, I watch it with the weight of 650,000 words of character development on my shoulders, examining the faces of the cast for glimpses of the rich inner lives of their characters.

My favorite character, from childhood to this day, remains Enjolras, and the reveal of his dead body, thrown over the barricade on his red flag, is, for me, one of the most powerful and evocative images in wider pop culture. Despite my changing opinion about the relationship between Eponine and Marius, “A Little Fall of Rain” still causes a fair amount of rain on my face whenever I see the show. But the real kicker is always Valjean’s final line, before the final heavenly chorus: “to love another person is to see the face of God.” I’ve never been religious, but perhaps, if this is how it’s done, I could be.

To me this show and its source material timelessly encapsulates humanity at its best and worst — everything you ever need to know about human nature, you’ll find it in Les Mis.

Donya: ‘Godspell’

godspell_broadway emotions

For those of you who know me, you will know that I am not a particularly religious person – brought up steeped in the traditional values of both Catholicism (the Roman kind) and Protestantism, I never really took to either in the strictest sense. Which is why it may come as a surprise for you to hear that Godspell is one of the most emotional Broadway (and musical) experiences I’ve ever had.

“Day by Day” had been a part of my life long before I knew its origins – a staple of morning assemblies and choir throughout my childhood. But it wasn’t until I entered Comprehensive School (the U.K. equivalent to High School) that I learned about Godspell as a whole, when it was chosen as that year’s production. Theologically, I was riveted by it, as it laid out the parables from the Gospel of Matthew (mostly, there are some from Luke too) in a way I had never seen before. Though it was more than just its Biblical origins.

Godspell, through its music, was a reminder of disparate people coming together in friendship and community, was about love in all of its forms, and forgiveness. It came to me at a time in my life when I struggled with where I fit in, and out of it came an understanding of who I am and wanted to be, but also some of my dearest and enduring friendships. It’s difficult to quantify the depth of emotion that Shwartz’s music and lyrics evoke in me, but it remains one of the most affecting shows in my life – it’s impossible for me to make it through the score with dry eyes.

I had the good fortune of being in New York during the run of its revival in 2012, and managed to get tickets to see it at the Circle in the Square theater. It was the perfect setting for the show, an intimate and immersive experience that I often think back on, as with minimal dressing to the stage the success of the show rested entirely on the shoulders of the performers – and, vocally, it was one of the most impressive performances I’ve ever seen. Not only that, but engaging the audience and having them join in during the intermission was a stroke of genius, and speaks to the core of the show – which is its community. Dancing with my friends on stage is a memory I’ll continue to cherish.

Though I’m still finding confetti in my clothes, years later.

Brittany: ‘Spring Awakening’


Spring Awakening was the first Broadway show I saw alone in New York. I was 16, sitting in the audience watching the original Broadway cast undress each other, curse, commit suicide, and the process of illegal abortion. It was radical and extreme and I will never forget sitting there, multiple times, watching those performances.

Enter 2015 when Deaf West’s Spring Awakening revival returned to Broadway. It was not the same show that I saw when I was a junior in high school and I was not the same person sitting to see it in the Brooks Atkinson Theatre. Spring Awakening is a hard story to tell. If the actors on stage do not trust one another, the story can quickly move from uncomfortable to unnerving. The cast, now comprised of both hearing and deaf actors, needed that trust more than ever to breathe life into this production.

Sandra Mae Frank, the lead deaf actress playing Wendla, at times had her lines sung by her backup voice, but mostly her story, that of a girl kept in the dark, was reflected just that way through her silence. The moments that were specifically chosen to be told in complete silence were perhaps the most striking of all. The scene between Moritz and his father, where the elder casts shame upon his son for embarrassing the family is told completely through ASL ending with a deafening door slam. I didn’t need to look at the words projected on the screen to know what was going on in the exchange and that is due to the actors incredible emotion poured into their delivery of their lines.

I went into this performance hoping to pass the story along to someone who had never seen the show before. Now my memories of the show no longer include Jonathan Groff, Lea Michele, or John Gallagher Jr. Their voices may be the ones I hear when I revisit the soundtrack, but the visuals are forever changed to watching the Deaf West cast silently cue each other to begin their story.

This article is a part of Hypable’s inaugural Broadway Week in celebration of the 2016 Tony nominations.

Another nail has just been placed through the cable box coffin: Hulu has just confirmed reports that they’re putting together a live TV service.

Speaking in front of advertisers on Wednesday morning, Hulu CEO Mike Hopkins said that live TV on Hulu is in the pipeline and will offer consumers a way to watch network and cable channels live via Hulu’s suite of apps.

Hopkins’ comments arrive on the heels of a report in the Wall Street Journal which first revealed the streaming service’s plans. According to that report, ESPN, ABC, Disney, Fox News, FX are the first channels set to join Hulu’s live TV service. Hopkins didn’t confirm any channels during his presentation this morning.

When it launches, Hulu will likely have one of the best shots at making a live TV streaming service take off, and it may seriously disrupt the traditional cable box business. The only other major service currently offering live TV via streaming is Sling TV (with plans starting at $20/month), but unlike Hulu, Sling lacks brand recognition.

Over the past couple of years it’s been widely report that Apple has made several attempts at creating a live TV service like the one Hulu is trying to put together, but the iPhone maker has run into trouble striking deals with the various networks.

Hulu’s current packages allow consumers to watch TV shows from most of the major channels the day after they air on traditional television. Plans start at $7.99 per month.

For some fans, watching TV shows live is important so they can live tweet or discuss their shows elsewhere online immediately after they air. A live TV service from Hulu could cause many people to get rid of their traditional cable boxes, which tend to come saddled with bad user interfaces and extra fees.

Are you tentatively interested in Hulu’s live TV service?

The price of the service will be an important factor in how many people subscribe, of course. Hopefully it’s cheaper than most cable subscriptions.

What Jon Snow’s fate means for the future of ‘Game of Thrones’

Oh, the places we'll go, the things we'll learn!

11:00 am EDT, May 4, 2016

This week, Game of Thrones continued to create more questions out of answering others.

Now that we finally know for certain what we all predicted, it’s time to speculate how this will impact Game of Thrones going forward. Yes, of course I’m talking about Jon Snow’s resurrection.

There are larger implications for the future of the show besides the fact that Jon is an active character again. Aside from how different Jon himself might be, we also must consider what his presence means for other characters and plots.

First thing’s first, Melisandre is going to die. She has two things working against her. 1) She did her part in bringing Jon back, so her purpose is done. 2) She’s getting a sympathetic edit, and that never bodes well. Start preparing yourself now, because Melisandre doesn’t have long for this world. It is known (wait, no, wrong religion!).

Now let’s talk about Jon. What Jon Snow are we getting back ? Resurrection is not new to Westeros. Most recently we saw the Mountain brought back to life through ‘scientific’ methods, and he appears to be quite obedient. He’s mute and just does what he’s told, a mere killing machine (although, you could argue that’s all he was in life too).


Then there’s Beric Dondarrion, resurrected by Thoros through magical means in more or less the same way as Jon. Though Thoros was adept at this feat (he’d done it enough times), every time Beric came back, he lost a bit of himself. Memories would go, and he seemed only capable of (re)living for a singular purpose: revenge.

This was Melisandre’s first attempt at bringing the dead back to life, so it’s possible she might have screwed up somewhere in the ritual, causing Jon to come back a little different from the Jon we know. Even if she did it perfectly, Jon is likely to be a changed man.

Having died, he has no Night’s Watch oaths to maintain, and seeking revenge on those who killed him would understandably be a high priority. We’ve known Jon to be more merciful than merciless, but will this be reversed after losing a part of himself in death?

And will Jon’s return impact other characters? Sansa is on her way to Castle Black, and after hearing what she has to say (assuming they actually do reunite), Jon will have more vengeance to seek. The Boltons have taken over his home and hurt his family, so it’s likely he’ll rally all he can to help him go after them.


Back home in Winterfell, Ramsay is planning on storming Castle Black, and if he’d done it earlier, he just might have won. The old Jon probably wouldn’t have been prepared for a man like Ramsay, but the new Jon will give no pity and show no mercy. After having died, Jon might feel he’s nothing to lose, that this is a second chance and he’ll take it guns blazing (swords slashing?). It would be the perfect contrast, the two Snow bastards who each believe Winterfell is theirs, fighting to the death.

Jon coming back is also almost solid proof that R + L = J. From the beginning we’ve heard tidbits of information about Lyanna Stark, Ned’s sister, and the mentions last season were particularly blatant and frequent. Even this season, already, we’ve gotten a Lyanna reference, when Bran visited the past. Unless it’s a giant red herring, there’s obviously a reason a long dead woman with seemingly no relevance keeps getting a shout out.

Of course, if it is true that Jon is a Stark and Targaryen, then Dany is not necessarily the ‘rightful’ heir to the Iron Throne. Being half Targaryen also means that Jon has the blood of the dragon, and he has a claim to the Throne and to one of Dany’s dragons.

Side note: He probably won’t get Drogon, since he’s Dany’s favorite. But how funny would it be if Jon just strolls in and Drogon immediately bows down and does what he’s told? That’ll teach Dany the importance of training!


Having been resurrected by the fire god and having the blood of the dragon also poses an interesting notion of Jon’s overall purpose. It’s long been postulated that the “Ice and Fire” referenced in the book series title is Jon and Dany. But what if it’s just Jon? Jon has gotten ‘looks’ from both sides: Melisandre stared him down when she first saw him, and believes him to be Azor Ahai. The Night’s King also shared what seemed like a telling look with Jon at Hardhome.

We know the war between ice and fire is coming, so what if Jon is a link that connects them? He’s the undead brought back to fight the undead, and put an end to this war. He won’t do it alone, either. Azor Ahai needed a weapon to fight the darkness, and he had Lightbringer. If we’re to assume Lightbringer is a physical sword, it’s most likely Longclaw. In season 5, both Jon and a White Walker were surprised to see Longclaw kill the White Walker. We thusly learned that Valyrian steel can kill White Walkers. But what if it was more than just being Valyrian steel? If Jon is Azor Ahai, why couldn’t Longclaw be Lightbringer, the ‘hero’s sword’ meant to fight the darkness?

Jon coming back opens many doors. There are so many possibilities his presence brings to the show. Is Melisandre finished? Will Jon be the one to kill Ramsay? Is Jon really half Targaryen? And most importantly, will he ride a dragon?!

How do you think Jon’s resurrection will impact the future of ‘Game of Thrones’?