John Lithgow’s guest appearance in Season 4 of “Dexter” took the already dark series to an even more disturbing level. As Arthur Mitchell, the infamous Trinity Killer, Lithgow delivered a performance that was both captivating and deeply unsettling. Known for his versatility, Lithgow, with a career spanning comedic and villainous roles across film, television, and stage, brought a unique depth to this sinister character. Before the season finale aired on Showtime on December 13th, he shared insights into crafting this unforgettable role.
Crafting a TV Villain: The Genesis of Arthur Mitchell
Lithgow revealed that the role of Arthur Mitchell came to him swiftly. “I was offered the part on a Wednesday night, and Thursday morning I heard this long pitch,” he explained, detailing a compelling narrative presented by showrunner Clyde Phillips and executive producer John Goldwyn. This detailed “ghost/suspense story” painted a complete picture of the season, a secret held only by Lithgow and Michael C. Hall, who preferred to remain less informed. For three months, Lithgow carried this dramatic weight, even directors were kept in the dark about the unfolding narrative.
This cloak of secrecy surrounding Arthur Mitchell’s arc heightened the intrigue, allowing Lithgow to fully immerse himself in the character’s complexities without external influence. The deliberate pacing of information, even behind the scenes, mirrored the gradual unveiling of the Trinity Killer to the audience, enhancing the suspense and impact of each revelation.
Beyond One-Dimensional Evil: Unpacking the Trinity Killer’s Layers
Lithgow drew a distinction between Arthur Mitchell and other villainous roles he’d played. Many previous roles were “fairly one note” and confined to single films. In contrast, “Dexter” offered “12 little movies,” allowing for a meticulously crafted and gradual unveiling of character. Mitchell was far from a simple embodiment of evil.
“Even in the first episode, you see him commit this horrific murder, and it looks like pure evil, but the next time you see him, he’s in that scalding shower, torturing himself with remorse.” This duality, Lithgow emphasized, was key to Mitchell’s chilling nature. He wasn’t merely sadistic; a deeper conflict raged within him. As the season progressed, layers were peeled back: the façade of a family man, a churchgoer, a Habitat for Humanity volunteer, contrasting sharply with the monstrous reality of the Trinity Killer, and his horrifying pattern of killing young boys.
This multifaceted portrayal revealed “an evil man who does not want to be evil.” Lithgow saw Arthur Mitchell as a dark reflection of Dexter himself, “just a much, much more extreme case.” Both characters grappled with inner demons and a desire to suppress their darker impulses, albeit with drastically different outcomes and motivations.
The Chilling Kindness: Arthur Mitchell’s Most Terrifying Facet
When asked about the scariest aspect of Arthur Mitchell, Lithgow pinpointed a surprising element: “When he’s being so nice.” He highlighted the Thanksgiving dinner scene as the most unsettling of the entire season. Mitchell’s gentle patriarch demeanor, leading the family in expressing gratitude, was laced with palpable tension. “You just know this is not going to end well,” Lithgow stated, emphasizing the disturbing contrast between outward pleasantness and inner turmoil. Even a seemingly innocuous line like, “Well, nobody said they were thankful for me,” sent shivers down the spine, underscoring the volatile nature simmering beneath the surface.
This ability to weaponize normalcy, to mask monstrous intent with affable behavior, made Arthur Mitchell a particularly chilling villain. It was in these moments of forced geniality that the audience truly sensed the unpredictable and dangerous nature lurking within.
Memorable Scenes and Dexter’s Dark Humor
Lithgow cited the Thanksgiving dinner and the opening of the subsequent episode as his favorite scenes. The episode following Thanksgiving was “a fantastic piece of writing,” serving as the culmination of the season’s escalating tension. This was the moment “that the whole 12 episodes were building up to,” where Dexter and Arthur finally confront each other with full awareness of the other’s true identity. The dynamic shifted from Dexter’s pursuit of the elusive Trinity Killer to a direct and dangerous confrontation, a payoff eagerly anticipated by viewers.
Despite the grim subject matter, Lithgow acknowledged the “very funny show” that “Dexter” is. He pointed to Dexter’s “ironic asides” as a key element of the show’s comedic relief, a crucial ingredient in making a serial killer protagonist palatable. This dark humor, he argued, is what allows the audience to connect with Dexter, despite his monstrous actions. Drawing a parallel to Shakespeare’s “Othello,” Lithgow likened Iago to “a wonderful comic character,” despite his profound evil, illustrating how humor can coexist with and even amplify darkness in storytelling. The Thanksgiving scene, despite its horror, also had moments of dark comedy, a “giddy rush” in its extreme and rapid escalation from grace to violence.
Echoes of Evil: Comparing Arthur Mitchell to Iconic Anti-Heroes
When discussing other memorable evil characters, Lithgow immediately referenced Tony Soprano as “the great evil creation of the last 10 years.” He drew parallels between Dexter and Tony, noting a shared captivating duality. Despite their vast differences, both characters held audiences spellbound, even in moments of extreme violence and moral transgression. Lithgow praised Michael C. Hall and James Gandolfini for their ability to portray this duality, making these characters “hypnotic.” This comparison highlights the trend in television towards complex, morally ambiguous protagonists, blurring the lines between hero and villain and captivating audiences with their flawed humanity.
The Versatility of Performance: From Comedy to Horror
Reflecting on his diverse career, Lithgow stated that playing both funny and villainous characters is “equally fun.” The appeal lies in the “great fun to switch gears and surprise people.” “Dexter” marked his return to television after “3rd Rock From the Sun,” a deliberate choice to embrace the opposite end of the acting spectrum. On “3rd Rock,” his presence elicited laughter; on “Dexter,” it evoked “horror.” This dramatic shift showcased Lithgow’s range and his enjoyment in challenging audience expectations.
This ability to transition seamlessly between comedic and dramatic roles is a hallmark of Lithgow’s career. His willingness to embrace contrasting roles not only demonstrates his acting prowess but also keeps his work fresh and engaging for both himself and his audience.
Engaging Different Audiences: Children and Adults
Lithgow offered insightful observations on performing for different audiences, particularly children. He deemed children “a tougher audience, but they’re so fantastically open and spontaneous and responsive to a berserk excess.” While more challenging to control, their uninhibited reactions make them a “thrilling audience.” His continued engagement with children’s entertainment stems from this challenge and the “enormous fun” it provides. He playfully described children as “the most trusting and stupid audience,” in the best sense, highlighting their capacity for “total suspension of disbelief.” He compared performing for children to “lion taming,” emphasizing the need to maintain their attention and the potential for even small distractions to derail the performance. He even suggested that performing for children is beneficial for actors overall, honing their skills in audience engagement.
Social Media and Television Consumption
Addressing his presence on Twitter, Lithgow revealed it was a suggestion from his publisher to build interest in his upcoming autobiography. While he doesn’t “really interact an awful lot,” he follows fellow comedians like Jim Gaffigan and Michael McKean for their humor. His own Twitter presence serves primarily as a one-way communication, sharing updates on his projects, particularly “Dexter”-related content, acknowledging the overwhelming fan response to the show. He found it a “curious way of communicating,” particularly in connecting with audiences across geographical boundaries, as evidenced by fans traveling from across England to see his one-man show.
Regarding his television viewing habits, Lithgow admitted to not watching much TV. He does, however, engage with “some of the best cable series” like “The Sopranos” and “Mad Men.” He also confessed to being a “sports junkie” but practices moderation. While not a loyal TV viewer, he experiences “spasmodic periods” of immersion in shows like “The Office” or “30 Rock.” Humorously, he confessed that “3rd Rock From the Sun” was the only show where he enjoyed watching himself, finding his own performance “hilarious.”
Through this interview, John Lithgow offered a fascinating glimpse into the creation of Arthur Mitchell, the Trinity Killer, a character that solidified his place in television villain history. His nuanced portrayal, blending chilling menace with unsettling normalcy, made his Dexter arc a truly unforgettable and terrifying television experience.
