Bates Motel 5x10 Review: "The Cord" (Checking Out) [Contributor: Erin Allen]

"The Cord"

Original Airdate: April 24, 2017

“It’s like there’s a cord between our hearts.”

The finale of Bates Motel is a near-perfect ending to a near-perfect series. The showrunners set out to do five seasons and wrote toward an end. It’s not too often writers are able to do that. They told the stories they wanted to tell and arrived at the conclusion on their terms. The fans and the characters alike benefited from this. Connecting the first episode to the last reminded us why we started watching and why we stayed.

Spoilers will be included in this review. Read at your own risk.

A BOY AND HIS MOTHER

The show was always about this intense bond between a mother and son. It was “the cord” that ran through the entire series. Whether it’s the true embodiment of Norma, an ethereal vision bathed in a warm glow, or the protective Mother creation, the show focused on her and Norman’s unique connection.

The series began with Norma determined to start over. Dream Norma convinces Norman that he can do the same. “You had a bad dream, honey. You need to learn how to wake up from them. You can if you just try hard enough.” And with that Norman resets. He goes back to the time his mother was filled with hope for a new beginning. 

They cut between scenes from the first episode, “First You Dream, Then You Die.” Norma brings Norman to White Pine Bay to start their new lives. She talks to him from the past and he responds in the twisted present day with the same dialogue. It is a chilling effect, and the nostalgia tugs at your heartstrings. 

Norman sets up the motel and even takes guests — a mother and her two boys, one of which is named Dylan. He invites Dylan over for dinner. “This can be a new beginning for all of us.” Problem is, Dylan lives in the real world, and he has the brotherly responsibility of trying to make Norman see that reality. 

Norman gives himself two options: stay in this fantasy land playing house with Norma’s corpse or join her in her final resting place. Either way he's with her. Dylan takes away the first option and Norman forces him into the second option. It's a mercy killing, the only way that Norman can be free. Norman thanks him as he's dying. 

Freddie Highmore and Max Thieriot are phenomenal in that scene. Norman is spinning out of control, becoming untethered from that vital cord, and Dylan wants his suffering to end. Both actors play this with raw emotion — their actions come from a place of love as they are thrust into this extreme situation. 

Once Norman is finally free, we see him as a young man and a young boy running to his mother. Both Norma and Norman are smiling and it is really, really beautiful. The final shot is the dual gravesite for Norma and Norman where they will be together forever. It is the most merciful ending for Norman, who, despite his crimes, deserved some peace. 

NORMERO

Alex Romero’s ending is truly heartbreaking. He went through so much to avenge Norma’s death, and failed at the last minute. As upsetting as that is, we know that ship was endgame. They both died fiercely loving each other. 

His final scene with Norma is majestic, fit for a unicorn like Alex Romero. Co-creator Carlton Cuse said that “this shot of Romero finally seeing Norma’s body is one of my favorite of the whole show.” The way he strokes her face and says “I’ll always love you” is filled with so much love and anguish. The scene is set in the snowy forest, and Norma looks angelic. In contrast, a violent struggle happens between Romero and Norman, and Norma’s porcelain face has her eye sockets rimmed in black. I don’t what that black is supposed to be. Rot? Whatever it is, it is friggin’ beautiful in a morbid way, just like the whole scene. 

It is an epic moment in a season full of epic moments. Shockingly, Romero meets his end within the first 11 minutes of the finale. I was expecting the whole episode to build up to that moment, and it happened before the first commercial break. That was gutsy, and it paid off. It gave us the shock factor as well as ample time to concentrate on the fundamental Norma/Norman element.

DYLEMMA

I am two for two on my Bates ships! Dylan and Emma get a happy ending. The last half of this season had me wondering, especially the last episode, “Visiting Hours.” Even leading up to the final scene, I was worried. The phone call between Emma and Dylan before he goes to see Norman felt like Dylan saying goodbye. I guess he was, in a way, not knowing what he would encounter in that house. Emma pleads with him to involve the sheriff telling him that he has a child. He responds, “I know I have a child. Do I have a wife?” She doesn’t answer the question! Which is infuriating! And then she won’t tell him she loves him when he asks her to. “I’m not going to arm you up so you can go and do something stupid.” When Emma argues that Norman is dangerous, Dylan, says, “He’s not dangerous to me.” Emma tells him he sounds like Norma, and I swear I see the slightest hint of a smile. That is a compliment to him. He always wanted to be a part of a family, and he is finally accepting the family he was dealt, taking responsibility for his brother and understanding his mother. 

LOOSE ENDS

I love this series finale, however I have a few minor complaints. Sheriff Greene tells her team to get deputies to check on the Bates residence. It is the next day when Norman shows up back at home with his mother’s corpse and there are no police in sight. You know they would’ve had at least one cop surveying that place. She called in the U.S. Marshal, for crying out loud. This is just a little unbelievable, logistical nitpick, but it’s there nonetheless. Also, there was way too much focus on this Regina person. I get that Romero needed her for his getaway, but did he really? It was so much nicer when it was just Norman and Romero. Sheriff Greene tells Dylan that Regina is the only person that she cares about in this hostage situation, and Regina is the person we, as the audience, care about the least. I did laugh when Regina finally makes it back to the station and Sheriff Greene looks at her disappointed. In the same vein, I didn’t think the chick that hits on Dylan in the bar was necessary. I don’t even think that scene had to take place in a bar. He could’ve gotten that phone call from Norman anywhere. These things felt superfluous. If they are adding extra stuff how about tying up some loose ends like Dylan finding out Caleb is dead or what the heck happened to Dr. Edwards. 

As I said, these are only small criticisms. The episode as a whole and as the final chapter of the Bates saga is remarkable. It did the series and its iconic source material justice. It’s sad to say goodbye, but I am happy with its ending. 

Motel Amenities:

• If you’re interested in crying again after watching the finale, may I suggest reading showrunner Kerry Ehrin’s farewell letter to the show.
• “I’ll get hypothermia.” “Walk fast.” Bye Regina. 
• Norman/Mother calls Romero “Sheriff Lonelyheart.” I’m hoping this is a nod to Hitchcock’s Rear Window.
• Romero said the F-word! On A&E! I didn’t think that was allowed. Did they get special permission or is there a new guideline for Standards and Practices?
• “You know everything now, and there’s nothing for me to protect you from.” This is the last we see of Mother, I believe. What we see after this is Dream Norma. That’s my theory anyway. 
• Remo isn’t the only returning season one character. The realtor in the final montage is Jiao, the girl Norman and Emma saved from Shelby’s sex trafficking ring. 
• “It’s safe here, right?” 
• “I don’t know a Romero.” 
• Fantastic uses of Doris Day’s “Dream a Little Dream Of Me” and “Que Sera,” and Patsy Cline’s “You Belong To Me.”
• “I’ll never love anybody else but you. You screwed me there, Emma Decody.”
• The last image in the Bates house is a spooky but gorgeous tableau. Norma is propped up at the head of the table while her sons say their final goodbye in the corner.

Read More

Bates Motel 5x09 Review: "Visiting Hours" (Brother’s Keeper) [Contributor: Erin Allen]

"Visiting Hours"

Original Airdate: April 17, 2017

The penultimate episode of Bates Motel is a quiet one. It focuses on how the murders affect the people involved and how their reactions affect those close to them.

GIVE DYLAN A BREAK

The amount of crap Dylan gets from people in this episode is absurd. He is grieving the loss of his mother as well as the fate of his brother. His wife is harsh, the lawyer he hired guilt trips him, and Madeline puts some blame on him. And he is understanding about all of it, taking each burden on his shoulders as it is handed to him. The massive amount of compassion that Dylan has is why he can empathize with every person that takes their sorrow and frustration out on him. 

At first I was a little perplexed as to why both Emma and Madeline were so distraught about the deaths of Audrey and Sam, respectively. Of course a family member dying is awful, but I figured that the victims being awful would make the hurt a little less severe. It wasn’t until the man at the funeral home tells Emma that “sometimes those are the hardest losses” that I started to understand how the ill feeling about the relationship can expose the unresolved issues and keep them exposed like an open wound. Dylan already understands this having gone through something similar with Caleb, and if he finds out about his death, he will have to deal with even more of these conflicted feelings. Dylan is patient and accepts other people’s pain and worry, and adds it to his own, but how long can he keep that up? Emma does soften a bit toward the end which is good because Dylan needs her support and to grieve with her.

Madeline is much colder, judging Dylan on his relationship with his brother and how he is dealing with his grief. I realize her horrible husband is dead, but that is no reason to get nasty with someone she doesn’t know and has no idea what he’s been through. It felt like a kick him while he’s down moment, and the whole episode really made me super sad for Dylan.

PRISON BREAK

When I described this episode as quiet I meant up until the last five minutes when Romero breaks into the jail and takes Norman. Is it a thing to ship a murder? Because if Norman is going to die, I want Romero to be the one to kill him. Romero is a broken hearted shell of a man who only has this revenge killing to keep him going. If he completes his mission, I’m not sure what will become of him. If he doesn’t, I don’t see him surviving the pain and defeat.

The thing is, I don’t even know if I want Norman to die. Even though he is bat-crap crazy, I am kind of fond of the Mother he created. Although she is not Norma, Norman was close enough to her to imbue some of her spirit into his manifestation of her. Even the death of a whacked out version of her will feel like the death of Norma, my most beloved character on the show.

And does Norman deserve to die? Mother makes an interesting point: “Death isn’t about deserving. It’s just part of the deal.” This kind of thing is an oft-debated subject. Dylan says “Norman is sweet, he’s just out of his mind.” Who pays for the sins of the crazy person? Will it bring justice to the victim’s families? Everyone is a victim in this situation, including Norman. He is consumed by his disease, and we witnessed his valiant albeit futile fight against it. His lawyer makes a good case to Dylan: “No one is going to want to see his illness once they see the evidence of his crimes. They need to see his connection to humanity.”

I surmised in my review of “The Body” that there is no way out for Norman. I don’t think there is a way out for Romero either. However it ends in the finale, Romero will just suffer more or cease to be. It is tragic, but we have to know that there was always a high possibility of not getting a happy ending. The film didn’t have a happy ending. The film didn’t even have closure, so even that is not guaranteed. I have enjoyed this series so much, and especially this last season, that I predict the finale will be satisfying even if I can’t pinpoint what a satisfying ending would look like to me.

Motel Amenities:

• I wonder if Chick’s manuscript would’ve been used in Norman’s trial.
• “I never wanted to bring you anything but happiness.” 
• “I don’t know if we’re going to make it through this.” Um, excuse me, Emma?!
• “Everyone has multiple personalities. We pull out what we need when we have to.” I love love love this line!
• Mother talking to Julia about being a mother is so enthralling. We see Mother saying these things about motherhood and it makes sense. She is still a mother trying to protect her child even if she is a figment of Norman’s delusion. But, we know Julia is seeing Norman say this to her which must be really eerie. 
• “One step closer to Hell?”
• “Now a bad time?” “It’s going to be a bad time for awhile.”
• “Wouldn’t It Be Nice” by The Beach Boys is a gut-wrenching song to play while Romero is on the screen. 
• I like how Vera Farmiga as Mother stood up in the courtroom when the judge asked the defendant to stand.
• “Norman only tricked me for a couple of weeks. How did he trick you for your whole life?” Take a seat, Madeline. Take several seats. 
• The scene where Emma goes to see Norman is fantastic. She needed a little redemption after being so hard on Dylan. She immediately sees that it is not Norman and she asks to speak with him. Mother won’t let him talk to her because he is sleeping and she wants him to wake up to the smell of apple pie so he will know everything will be okay. I can’t with this imagery, Mother. All the tears. Then Emma asks Mother to tell Norman that she misses him. More tears. 
• OMG, Romero is having Norman take him to Norma’s body. The finale is going to be INTENSE!

Read More

Bates Motel 5x08 Review: "The Body" (Mother is Mad) [Contributor: Erin Allen]

"The Body"

Original Airdate: April 10, 2017

“Hun, you are in a big pickle.” 

Norman certainly is and I don’t know if Mother can get them out of it this time. Freddie Highmore directs this tense episode of Bates Motel.

THE PICKLE

The episode opens on Norman unable to open his eyes. He’s afraid of Mother’s response to him turning himself in for Sam Loomis’ murder. And he should be afraid because Mother is not happy. He is trying to escape her by taking his meds and being put under police watch. She will not go without a fight, though. He finds that no place is safe from her because she is part of him. She roughs him up when he takes the pills and forces him to throw them up. Then she very lovingly cradles him in her arms and tells him that she’s going to make everything better, right before smashing his head into the toilet.

Mother showed signs of wanting to take over in “Inseparable,” and here she does just that. Norman is gone for the rest of the episode with his Mother self in the hot seat. The scenes toggle back and forth between showing Highmore and Vera Farmiga as Norman/Mother. In the interrogation room, the use of the two-way mirror to alternate between them is an obvious device, but is done well, and quite artfully. When Norman gives his tearful account of his doomed love for Madeline, he is played by Highmore. This shows how great Mother is at acting as Norman. It is very convincing — not enough for the skeptical sheriff, but I liked the choice to keep Highmore during this part. Similarly, in the scene with Norman and his lawyer, it is Farmiga as Mother. We see her mind working on a way to disprove Norman’s hasty confession. Mother is the smart, conniving one of the two, so it makes sense that we see Farmiga here.

These decisions made these heavy dialogue scenes impactful, especially in the first scene where Mother is in the driver’s seat. Farmiga fixes and straightens her clothes when she hears the sheriff coming, then it is Highmore that interacts with her. Norman is lit, his pale face practically glowing. It’s like Mother is shining out from within him. Sheriff Greene is in the dark, figuratively and literally. The Norman she encounters is a complete 180 from the docile, cooperative Norman she questioned earlier. I absolutely loved this. And, on top of all that, Brooke Smith’s performance was fantastic. She is confused by his change in behavior, but she doesn’t let it shake her. She is sarcastic and stern, and I really like how that attitude goes with Mother’s. It made for a dynamic interaction.

I really don’t see any way out for Norman. He’s got people coming at him from all sides as well as inside him. He’s faced with spending the rest of his life either in prison or an institution on medication without Mother. Or he could be gone forever with Mother serving out those sentences. Or he could be dead. Remember Romero is still after him and looking to kill him. I’m afraid there is no way out of this psychotic pickle, but that doesn’t lessen the excitement to see how it unfolds.

ROMERO RETURNS

I got chills when Romero stepped into the frame of the cold landscape of the Bates Motel. And then I got feels. Once he enters the house, he sees visions of a glowing Norma, and we get to relive that pain, remembering that they were happy in that house for a (much too) short while. Romero wears that sorrow on his face and in his beautiful, dark eyes. It is gut-wrenching. To make it even worse, he falls asleep in her bed. This poor, heartbroken unicorn.

All this precedes a crazy scene with Chick in the basement. That’s right, the delightfully strange weirdo, Chick, is back, too. Romero finds him pecking away at his typewriter in the freezer that had entombed Norma’s body, “dancing with newborn angels, trying to catch a muse.” Romero is in no mood for Chick and his fanciful prattling. “Why don’t you say it like a normal person?”

Listen, Romero has come a long way to get here. He escaped federal custody, he was shot in the gut, and he’s been having visions of his dead wife. All he wants is to kill her son in cold blood for revenge, okay? He’s trying to wrap his head around the fact that Norman dug up her body and enshrined her in the very spot that Chick now sits. The devastation in his eyes when he finds that out hurts me physically.

Chick continues to yammer on about his book, in his own little world. He sees himself as an observer and even heroic for recording the events that happened in this “beautiful, haunted old house.” He’s put himself on the outside looking in, and feels no danger can come to him. That is until he tests the patience of the lovesick, grief-stricken Romero. Even as I heard the words that Chick typed: “More surprise than the brain would allow you to imagine —” I was still taken aback when Romero shot him the head! In an episode that had been largely devoid of action, this was unexpected, even with Chick’s running commentary.

Although I really like Chick, I think this was the best conclusion to his story. No matter how much he tried to justify it, his book was exploitative of a really tragic family. He got cocky and blinded by his own supposed brilliance that he didn’t foresee himself becoming a victim of the story he was trying to tell. It was also a very poetic way to die that, I think, suits Chick well — he probably would’ve appreciated it. The typewriter ding when his head hits it is just perfect.

Motel Amenities:

• I’ve said it before, but it bears repeating: Brooke Smith as Sheriff Greene is such a great addition to this cast. I was living for her impatience with Norman. 
• Not only did Highmore’s tears kill me again, but now he does this wide-eyed thing that also slays me. 
• “I know you think there are people in the world that are fighting for good, but honey, there is no good. There is just life.”
• “I hope you enjoy your accommodations. Not as nice as your motel, but we do try.”
• “Be patient, Norman. If this goes well, in the morning you can come back, keep me company. I don’t mind admitting that I miss you.” Even though Mother wants to take over, she still needs Norman around. She is only one half of his being. I liked this acknowledgement. It was kind of sentimental and even sweet. 
• “Where to begin? This looks weird.”
• “The artificiality of scripted drama doesn’t hold a candle to true crime.” He says this right after actually lighting a candle. Chick is so wacky. Or was. RIP.

Read More

Bates Motel 5x07 Review: "Inseparable" (When Your BFF is Your Dead Mom) [Contributor: Erin Allen]

"Inseparable"

Original Airdate: March 27, 2017

Norman and Mother are both fighting for the upper hand in their twisted relationship, and Dylan shows up to witness it.

HOUSEKEEPING

Norman has some cleaning up to do after brutally stabbing Sam Loomis in the shower. Luckily, he has some help. Not in an "extra set of hands" sense of the word, but an inner monologue in the form of his impatient, but loyal Mother “self.” We are fortunate to see this played out physically with Vera Farmiga as Mother assisting Freddie Highmore’s Norman in the bloody aftermath. “You can think about the meaning of life later, but right now we’ve got shit to do.”

Norman is dealing with the realization of killing someone for the first time. He has murdered many times before, but he always blacked out and let Mother deal with it all — the emotions, the stress, and the dumping of bodies. Mother is well-versed in all of this. She tries to help him process it, but she mostly gets annoyed with his sensitivity. “We don’t have time for this emotional bullshit.” Norman is struggling between being in a state of post-traumatic stress and having some control over his actions. In a fantastic scene between the two of them (although, when are their scenes not fantastic?), Mother punches Norman as he becomes paranoid and unhinged. And Norman punches her back! I did not see either of those blows coming. Farmiga’s reaction was great. “I’m going to pretend that didn’t just happen right now.”

Mother is also trying to make sure he knows she is still needed. She talked him into killing on his own and is helping him to confront this side of himself, but she needs him to know that she is a vital part of his life. His lucidity and remorse are a threat to her existence. If he gets himself killed, she is dead, too. If he gets put into an institution and is forced to take meds, she is gone.

BROTHERLY LOVE

Another threat to Mother is Dylan. She knows that Dylan will want to get Norman help, and she can’t have that. Dylan does want to help Norman — he always did — and now seeing Norman’s living conditions and his erratic behavior, he feels it is imperative. He tries to get his old medications filled, and learns that Dr. Edwards has been missing for over a year! What?! That is an interesting and mysterious piece of information that I would like to revisit before the end of the series. Dylan is able to get a temporary prescription for Norman, and he insists that he take it. Norman is wary of Dylan’s help, but you can see compassion and maybe even a spark of hope that he actually can help. He apologizes for keeping Norma’s death from him, and even confides in him in a sad, cryptic way. “I miss our mother. So very much, I can’t even tell you. It’s not the same and it never will be.” This was risky considering Mother was watching.

Norman wants to be trusted to handle Dylan on his own. He tries to convince Mother that he won’t tell him anything, and that he will “never do anything to jeopardize” what they have. But, Dylan is persistent. So persistent that he aggravates Norman’s condition. “Stop trying to confuse me and stop meddling with the truth!” He starts crying and breathing heavily all while trying to convince Dylan that it’s okay for him to leave. It’s another heartbreakingly beautiful performance by Highmore. Max Thieriot is also wonderful in this scene, taking Norman’s plea for him to go as a cry for help.

But, Mother is like “nah bro” and takes over Norman’s body. Dylan watches the transformation in horror. Mother tells him that while she loves him, and is proud of him, she can only “ever be a real mother to one person.” I wish they would’ve cut Farmiga as Mother into this part before the scuffle with the knife. It would’ve been cool to see her say some of that stuff. Not to say Highmore’s delivery was lacking in any way, but I think it could’ve played nicely.

Mother comes very close to killing Dylan, but Norman is able to stop her/himself. They fight for the knife in a well-choreographed struggle, even showing Norman fighting with himself. Norman is able to vanquish her long enough to call 911 and confess to murdering Sam Loomis. His eyes were as wide as mine. He couldn’t believe he was doing that. Dylan couldn’t believe it. I couldn’t believe it. Twists and turns are still very much present even after the shocking one we saw in the last episode, “Marion.”

Motel Amenities:

• Freddie Highmore wrote the teleplay for this episode and also has story credit. 
• The spiral move on Sam’s eye was so awesome!
• “If I had a quarter I’d make a wish.”
• The linen day line is from Psycho. Great piece of dialogue to include.
• Maggie is an overly friendly hostess to the point where it’s kind of creepy. I’m sure she’s just looking out for Romero keeping his moral compass pointed in the right direction like she says, but it’s a bit much. 
• It’s quite a sight seeing Norman push his dead, frozen mother in a wheelchair through the snow in the woods.
• Dylan breaking down in Norma’s room was so sad. The reality of her death really hit him there.
• “Every day feels like a small century.”
• Highmore and Thieriot really portrayed their complicated relationship well, and showed how much love is between them. It was beautiful and tragic. 
• Composer Chris Bacon is hitting all the right and painful notes. The score during the scene where Norman takes Norma’s body into the woods, and when Mother speaks with Dylan really played at my heartstrings. 

Read More

Bates Motel 5x06 Review: "Marion" (The Shower Scene) [Contributor: Erin Allen]

"Marion"

Original Airdate: March 27, 2017

Bates Motel had a mother of a plot twist in this episode. Along with incredible performances, heartbreaking dialogue, and nostalgic cinematography it truly is a memorable hour of television — one for the history books.

CHECKING IN

Marion Crane (Rihanna) checks into the Bates Motel, and we all know where this is going. Norman puts her in Room 1, and she checks out the shower, just like the film. He makes her a sandwich, and they have a really deep conversation about parents and relationships. It doesn’t feel odd even though they have just met. Norman has been doing some self-exploration recently and he tells Marion some of his emotional musings. My favorite line of the night was a simple but eloquent take on the ultimate struggle of life: “It’s hard to be lonely. But, it’s also hard to love people. That’s the trap.”

He elaborates further: “The little private trap. Everyone lives it. We need people, but that need can destroy us. Once you care about somebody, it rules you. And who even knows, at the end of the day, if that person is really who you think they are. Or if they are even real at all.” We know he is talking about himself and how he realizes that his consuming love for his mother has destroyed the both of them. But, this thinking can probably be applied to even the most normal of people. It strikes a chord with Marion, and she empathizes with him.

PSYCH(O) OUT

Sam’s deceit is starting to show, and Marion is not having it. Why doesn’t she take a shower to cool off? She gets in the shower, and it is really suspenseful. There are some shots and angles that mimic the film, like the high angle on Marion and the shot up the stream of water coming out of the shower head. She hears something. The camera pushes in on the shower curtain. This is it. Cue the screeching violins. And then... Marion gets out of the shower, unscathed. Well-played, Bates Motel, well-played. You had me going. I really like Marion, so I’m glad she’s still safe, but if someone doesn’t get murdered in the shower, I will riot.

BROTHER TO BROTHER

Emma has to break the news to Dylan about Norma and it is HEARTBREAKING. Max Thieriot reacted brilliantly, crushing my soul. Dylan calls Norman and they have a heated and tragic exchange. Norman is already at his wit’s end, and having to explain to his brother what happened TWO YEARS ago is a lot for him to take. Similarly, it is overwhelming to Dylan who can’t believe that Norma would commit suicide. I love how Freddie Highmore plays Norman as feigning control, but also falling apart. It’s those teary eyes again. He is so good at that! Thieriot uses a perfect mixture of heartbreak and anger when he talks to Norman.

MOTHER TO SON

So, yeah, these scenes between Norma and Norman are intense. And mind-bending, too. It is a crime that neither Vera Farmiga nor Highmore have been recognized with nominations or awards. They are both putting so much into these complex characters. Season to season, week to week, I am constantly amazed by their talent.

That talent is especially evident when they have scenes together, one on one. We get a lot of that in this episode. Norman is struggling to come to terms with his psychosis. He is fighting his visions of Mother, but she will not go quietly. She fights back, demanding to be seen and heard. Norma’s intensity coupled with Norman’s fragility makes for some explosive drama. “No one made anyone up. We all exist. Like orphan planets spinning around in space with no purpose. It’s all real and it’s not real.” Norman still tries to resist, and Norma trashes the kitchen. He gives up and admits she is real. The scene ends showing Norman getting a hug from the Mother in his mind. He leans into an empty void among the wreckage.

Later, when Sam shows up at the hotel, Mother gets real with Norman. She tells him the how and the why of her existence. It’s time for Norman to face the truth and the pain that comes with it. “Like Adam wanting all the knowledge and eating the apple in the garden of Eden. You get the truth, but you also see the pain.” At first, the information is welcome, but then he retreats, succumbing to his fears again. “I don’t want to feel this. I don’t want to know anymore.” Mother continues her pep talk, and Norman builds up the courage to act on his own accord. He curbs his usual blackout where he lets Mother handle things, and handles it on his own.

THE SHOWER SCENE

**MAJOR SPOILER BELOW**

Just like Hitchcock did with Psycho, Bates Motel takes preconceived notions and turns them on their head. Audiences in 1960 were sure that the leading lady would not be killed off in the beginning of the film. Today, Bates fans were sure that there wasn’t going to be a re-imagining of the iconic movie without Marion getting stabbed in the shower.

And yet.

It is not a departure from the film just for departure’s sake. There is build up. Not just in this episode and this season, but from the beginning of the series. The gender reversal of the shower victim allows this rich storyline to come full circle. Mother has revealed to Norman the reason he created her was that he was too little to bear the pain of his abusive father. He couldn’t protect his mother from him, so he developed a way that he could. Mother says that Sam reminds her of Norman’s father. Sam also happens to be the name of Norman’s father. Norman is not too little now, and has the power to do something about it. Mother, or rather, Norman talks himself into exacting a lifetime of revenge on Sam, to have him pay for the sins of his father and of men that hurt women, in general.

Sam is the one in the shower when Norman shows up. Norman is not dressed up as Mother, like he was in the film. This is Norman making a decision to redeem his childhood weakness by murdering another “bad and scary man.” These decisions make this plot twist extremely successful and satisfying. How cool is it that in this version of the Psycho story Marion gets to live, the no-good cheater dies, and Norman takes command of himself? I love everything about it.

They may have changed the major components of the famous scene, but they paid homage to it beautifully with the blocking and the camera work. They recreated several shots, such as the hand reaching for the shower curtain and the well-known shot of the victim’s face on the floor, eyes dead. It was haunting in its familiarity, but superb on its own as its own. All around, a spectacular achievement.

I feel like I witnessed cinematic history watching “Marion,” as I’m sure viewers of the film did back in 1960. It elevates the show that I already had placed pretty high up on the scale. It was well-crafted and stunning, visually and mentally, and I could not be happier with this chapter of the saga.

Motel Amenities:

• Correction: In my review of “Dreams Die First” I referred to Dr. Edwards as Dr. Adams like a dope. 
• “Nothing like a crazy person announcing their own clarity.”
• If we aren’t going to have the Psycho violins for the shower scene, Roy Orbison’s “Crying” is an unexpected, but certainly suitable substitute.
• “If I’m not here, then why am I here?” Great delivery by Farmiga. 
• I like the way Marion eats that sandwich for some weird reason, but I do not like when she talks with her mouth full, especially during a great line like, “Parents can be a bitch.”
• “We are two parts of the same person. Both are very real.”
• The way Norman moves Marion’s bra when he sits down is super awkward and creepy. 
• Anyone else sing, “He had it coming. He had it coming. He only had himself to blaaaaaame,” when Marion smashed up Sam’s car and Madeline threw wine in his face? Just me? Okay. 
• “The world is full of mad people that function. Many of whom are heads of state.” Haha, BURN.
• Norma trying to force Norman to open his eyes. OMG.
• I miss Romero, but this part of the story needed to fill a whole episode. 

Read More

Bates Motel 5x05 Review: "Dreams Die First" (Disturbia) [Guest Poster: Erin Allen]

"Dreams Die First"

Original Airdate: March 20, 2017

Everyone is on edge and pissy with each other on this week’s episode directed by actual unicorn, Nestor Carbonell.

ROUGH NIGHT

Norman tries to piece together his actions during his latest blackout, and is none too happy with the shenanigans Mother gets up to without him. But mostly, he’s scared to death. She still hasn’t returned to him after his vision of her with Madeline. He is freaking out, but tries desperately to keep it together. He lashes out at Madeline: “I don’t need you to understand my life, Madeline. I barely understand it myself,” and he tells her about Sam’s motel tryst. She gets upset, and kicks the already emotionally unstable Norman out of her truck.

Also unexpectedly, Norman runs into Dr. Adams, and discusses the therapy they had done together. Dr. Adams offers to resume his treatment, blaming himself for pushing Norman “too far, too fast.” I think it’s great that Dr. Adams shows up at this particular time. He was always very patient and gentle with Norman. That’s why he was able to have some sort of breakthrough. If they would’ve continued, there might’ve been hope for Norman. But, alas, Norman is too far gone or unwilling to try. “Sometimes I see my mother when she’s not really there, and sometimes I become her. Well, that doesn’t happen anymore.” Either he is lying to himself or he’s lying to Dr. Adams.

At this point, he thinks the only person that can help him is his mother, but she is nowhere to be found. Norman isn’t the only one missing her. Her absence from the episode is acutely felt, but it really did underscore Norman’s distress.

“I’M A UNICORN”

Another character we didn’t get to see was Alex “I’m a unicorn” Romero. Nestor Carbonell, who plays the sheriff turned convict, escaped from in front of the lens to behind the camera. He delivers a dark and tense episode, wrapped in a bright and beautiful package.

Carbonell does a great job of building the tension between all characters, even the happy ones. It was only a matter of time before the bubble burst for Dylan and Emma. Everything we’ve seen of them this season shows that they are a happy and healthy little family. Their home is filled with light — so different from the Bates house and moody White Pine Bay. The darkness of their past and of things unsaid creeps in and disturbs their peace. Dylan gets impatient with Emma, and serves her a high quality burn: “I know you think you have this superpower where you know what people want even though it’s not what they say, but it’s getting really old, and sometimes people know what they want without you having to tell them. So, if you could just drop the Norma thing, that’d be great.” OUCH.

He ends up telling her about his fear that Norman is responsible for Emma’s mother’s disappearance/death, and Emma is pissed. What does he expect with what he said to her earlier? (And, by the way, do we think he still made her lunch after that?) Dylan tells her that he let Norma talk him out of doing anything about Norma because he was “a coward” and wanted to be with her, essentially assigning her some blame in his decision. We haven’t seen Dylan or Emma find out about Norma or Caleb, but now we’ve seen Emma learn the awful truth about her own mother. To be honest, that wasn’t even on my radar, so it surprised me. Also, watching their idyllic life come crumbling down is pretty upsetting to watch. And we know there is more on the way when we see Emma discover a headline reporting Norma’s suicide.

These performances set in the sunny, cheerful atmosphere were copacetic. I liked Carbonell’s choices on the whole Dylemma portion of the episode. Max Thieriot (Dylan) and Olivia Cooke (Emma) conveyed a lot in their scenes together, setting us up for more emotional turbulence with them.

GOOD GIRL GONE BAD

Like Thieriot did in his episode, “Hidden,” Carbonell manages a fresh take on the original, but still pays tribute to Hitchcock’s work. He approached the Marion Crane part of the story thoughtfully. There were some little things that I would’ve liked to have seen recreated here, like the push in through the window that begins the film, but I think what they chose to pay homage to was pretty great. And, anyways, why would we need a shot for shot imitation? Really, Gus Van Sant, why would we need that?

Rihanna as Marion is really cool casting. I thought she was a little stiff at times, but overall I like the direction she’s taking the character. My main problem with this storyline is that Sam is such a dolt, that it’s hard to believe Marion would risk so much to be with him. What could he possibly bring to the table in this relationship? At first, I thought it was an interesting divergence from the Sam Loomis in Psycho, but now that Marion’s decisions are based on the quality of his character, I’m not liking it quite so much.

We are only halfway through this final season and it really feels like we are hurtling toward the conclusion. No doubt, there is a lot more chaos on the way, and if it’s kept at this pace, we are in for a wild second half.

Motel Amenities:

• “She’s a nut, but how amazing would she be as a grandmother?” Ow, my feels!
• Major continuity flub in the scene between Marion and Sam — her jacket disappears in one shot and then reappears for the rest.
• I loved Marion eyeing the briefcase.
• “With Janet leaving, I would like to submit myself for the position.” How brilliant is this line? Rihanna is taking the part that Janet Leigh played.
• Friggin’ Freddie Highmore and his perpetual teary eyes! I can’t handle it.
• The music was nice and Bernard Herrmann-y.

Read More

Bates Motel 5x04 Review: "Hidden" (Parents Just Don’t Understand) [Guest Poster: Erin Allen]

"Hidden"

Original Airdate: March 13, 2017

Norman’s facade starts to crack as his madness intensifies. He is losing his grip on some of his “personalities” and the strain is showing on this dark and poignant episode directed by the show’s own Dylan Massett, Max Thieriot.

FROM DYLAN TO DIRECTOR

Max Thieriot makes his directorial debut with “Hidden.” Thieriot tells Yahoo! TV that he’s been “taking notes and paying attention” on sets for years. It shows. “Hidden” is visually compelling with a powerful performance from Freddie Highmore.

Norman is really unraveling now, and Thieriot tackles this with sensitivity and detailed precision. He shoots the scenes in such a way that shows Norman’s tenuous handle on his remaining sanity. Keeping Norman alone in the frame reminds the viewer that he is physically alone and alone as a state of mind. The editing is superb, especially in the scenes with Norman, Norma, and a third person. This is evident from the first scene. Chick (Ryan Hurst), Norman, and Norma discuss what to do with Caleb’s body. Cutting between Norma being there and not, and both of their reactions and interactions regarding her make for a really effective and engrossing scene. All three actors really nail this, balancing the somber mood and the craziness of the situation. “I’m glad that the two of you agree.”

Thieriot honors horror and Hitchcock in numerous skillful ways. Having Highmore resemble Anthony Perkins’ Norman Bates at certain times throughout the episode creates an interesting dynamic. Highmore takes this direction and runs with it. The sharp low-angle shot of Norman is replicated from the film, as are some of Norman’s direct looks into camera. Thieriot’s restraint from going overboard with these kind of homages is commendable. He does it just enough to make the episode understated and harmonious with the series as a whole. He is also adept at concocting the scare factor. The best example is when Norma “intrudes” on Norman’s makeout session with Madeline. This is real horror flick material, and he approaches it efficiently and artistically.

“I MUST BE GOING MAD”

Norman feels like Chick and Norma are ganging up on him and that sets up the desperation that plagues him for the rest of the episode. He lashes out at Norma — even going as far as to attack her — and he kicks Chick out of the house. He slips up in front of the new sheriff and lets Mother “get to him” on his date. Not only are his scenes fascinating, but Highmore injects a heartbreaking humanness. When he attacks Norma, his own behavior shocks himself into remembering that she is dead and that he killed her. This clarity is quick. Norma blinks and her dead eyes are gone, but their awareness of Norman’s assault is still there. The devastation on his face shows so much. He realizes that this is a delusion he’s created for himself, and it disturbs him that he acted with aggression towards her. It disturbs Norma, too. Vera Farmiga played Norma’s response brilliantly, keeping in mind that her reaction is also Norman’s criticism of himself. She is crushed and disappointed in him. “Don’t ever do that to me again.” Norma has been the victim of so much violence from men, to see Norman violate her, even in her death, is unsettling, to say the least.

Norman knows that he is mentally ill, but the extent of his illness is beginning to dawn on him in fuzzy bits and pieces. After several attempts at pushing Chick away, he finally confides and reaches out to him. The scene between them in Chick’s trailer is full of emotion — a stark contrast to their awkward exchange on the steps earlier in the episode. “It’s not me. It’s her. Mother. She’s out of control. There is something very, very wrong with her. She is going to ruin us if I don’t rein her in and I don’t know how to rein her in exactly.” Highmore humanizes Norman and his sickness for the viewers and for Chick. Hurst shows a shift from fascination to sympathy towards him.

A NEW SHERIFF IN TOWN

Kudos to the casting department. Brooke Smith as Sheriff Greene is a fantastic addition. She’s the Arbogast-like character and I’m curious if she will share the same fate. Smith deftly plays the smart, but friendly detective. Her scenes with Norman are so much more than simple questioning. I like how she comes off as a bit naive to the seedy underbelly of the idyllic White Pine Bay, but we can tell that it is a part of her sleuth-y methods. It’s enough to make Norman nervous, but not feel very threatened. His normal act and charms aren’t working on her, although Norman thinks he is fooling her. The fact that this role is filled by a woman accentuates that feeling. If it were played by a man, Norman might be immediately more guarded and suspicious, like he was with Romero.

Speaking of Romero, he’s alive! Caleb is killed instantly when Chick hits him with his car, but Romero survives a point-blank gunshot to the gut. Okay. I’ll go with it. I’m just so glad he’s alive. He finally makes it to White Pine Bay, hoping an old friend will help him out. I had forgotten about Maggie, Keith Summers’ sister, from the first season. It kind of feels like things are coming full circle by reintroducing us to that early storyline of Norma and Norman’s violent welcome to the small town.

Motel Amenities:

• As if it wasn’t bad enough knowing that we have to see Dylan and Emma find out about Norma’s death, now we have to watch them learn about Caleb’s.
• I love Norma’s reaction to Caleb’s death. “It is what it is. He didn’t ever need to come back here. He didn’t ever need to do a lot of stuff.” I KNOW, RIGHT?!
• This whole Viking burial that Chick gives Caleb is strange and unnecessary, in my opinion. Also, I can’t decide if Chick getting rid of the body in broad daylight with fire and smoke to attract attention is really stupid or actually genius. 
• “What the hell crawled into your pants?”
• “I don’t like how things are.” “Well, neither does anyone in God’s creation. We are a species of complainers.”
• Norman arguing with Norma is really him arguing with himself. The dude is super conflicted. He wants to get rid of her old dresses, so she says that she’ll go online and buy new clothes. “You don’t like your old dresses anymore?” “Make up your mind! Do I like them or do I not like them?!” This whole convo is Farmiga gold. 
• Brooke Smith was Catherine Martin in The Silence of the Lambs. I get so excited with any connection to the Lecter universe. 
• I liked the conversation about clutter and having too much stuff because Norman’s brain is cluttered with too much stuff.
• Norman chewing on candy corn while Sheriff Greene checks out the motel register was eerily similar to Anthony Perkins in Psycho and a well done tribute. 
• Madeline is really turned on making this cake. It was... odd. And then they used a dry measuring cup to measure the milk. That bugged me. Use a liquid measure, for crying out loud!
• Both Freddie and Vera used the flashlight props so well! It added so much to that scene.

Read More

Bates Motel 5x03 Review: "Bad Blood" (Family Ties) [Guest Poster: Erin Allen]

"Bad Blood"

Original Airdate: March 6, 2017

A lot happens in this episode, and yet it does not feel cramped or rushed. All the emotional moments — of which there are many — were given time to really resonate and effectively tug at your heartstrings. Clever dialogue and haunting visuals peppered throughout make “Bad Blood” a superb episode from start to shocking finish.

“DON’T GO IN THE BASEMENT”

The episode begins with Caleb coming to and coming face-to-face with Norma. Freddie Highmore as Norma is chilling and disturbing. He doesn’t do a straight mimic of how Vera Farmiga played Norma, which I think is a good thing. No matter how talented the actor, the Norma that Farmiga crafted should be hers and hers alone. Highmore’s Norma is soft-spoken, but still with a bit of her sarcastic wit. “Gee, all better. Everything is right as rain now,” Norman/Norma responds when Caleb offers a simple apology. The way Highmore is approaching it and the choices he’s making intimates a reverence to Farmiga’s Norma. Even though the change in his movements and mannerisms are slight, the effect is downright eerie. The basic act of him/her walking up the stairs at the end of their first exchange sent chills down my spine.

Caleb, fearing for his life, goes along with the charade. He tries to appeal to his sister to have mercy on him. And she does give him some. She doesn’t give him forgiveness, but she allows him to say sorry and to say goodbye. We know that Norma was his everything, just like she was/is to Norman. For her to give him this chance means so much. It is heartbreaking to watch him go through this, but also to know that Norma deserved some sort of closure with Caleb, as well, and never got it.

Perhaps some of Caleb’s plea got through Norma and into Norman. He goes against Mother’s orders and releases Caleb. “I just want to be left alone. I don’t want to live like this anymore.” The internal struggle is raging, and he is constantly in conflict in his own mind. Highmore portrays an almost crippling distress that is captivating to watch.

AND CHICK MAKES THREE

Chick moves in with Norma and Norman. He seems to do it out of a combination of compassion and morbid curiosity. There really is no one better to play cool around all this insanity. It gives the split personalities of Norman a sounding board and lets him drop his guard a little bit. Ryan Hurst does a great job of showing Chick trying to get the hang of dealing with them both. The dinner with all three of them is a well-done scene, all around. The interactions between them and the editing makes it compelling and fun.

Chick as the “observer” is an interesting addition to this story, so I’m not sure if I like the twist of him writing a true crime book about it. Although his character has been a bit of a mystery throughout the series, he did seem like a kind, but eccentric man. This book thing is a little self-serving and doesn’t fit with my perception of him. I loved his scenes with Caleb. He says he wants more backstory on Norma because he liked her and he “lost her, too.” I liked that that was his reason. It’s a perfectly fine reason to want to know more. But, after the reveal that he is writing a book, it makes his intentions less than admirable. I don’t think the decision to turn this likable, quirky character into an exploitive writer is necessary. If Chick turns out to be some sort of reference to Robert Bloch, the novelist who wrote the book from which Psycho was adapted, I might change my tune. But, even then Bloch wrote his book before hearing the details of the Ed Gein murders that took place in a town nearby.

THE GREAT ESCAPE

Romero’s move against Norman happens a lot sooner than I was expecting, and this makes me happy. However, how the episode ended for him DOES NOT. Poor Romero cannot catch a break. He lost the love of his life and the only thing he has left is his vengeance. That’s really all he is at risk of losing. That’s why he doesn’t think twice about making an escape. He does all of it smartly, but encounters an unpredictable element, and his plan blows up right in front of him. Literally. I am very interested to see what happens next with our forlorn fugitive.

Motel Amenities:

• “Bad Blood” is also the name of a season five episode of The X-Files, which happens to be Gillian Anderson’s favorite episode. This delights me to no end.
• I want a Vera Farmiga-as-Norma reaction to the news of the Dylemma baby. It would be much different than Highmore’s Norma.
• “Can I trust you, Chick?” “Trust is the foundation and the bedrock of every relationship. You can trust me, Norma.” But, can we trust him?
• It’s difficult to keep up with what version of Norman’s delusions is going on in his head at any given time. But, it is a fun challenge rather than a bothersome one. 
• The moment where Romero gets the wedding ring out of his envelope of belongings is quick, but moving, nonetheless.
• When Caleb asks Chick to cut him loose, he replies, “That’s not my role here.” I love the choice of wording. 
• This kimono bit, though. 
• “You don’t need to announce her, Chick. You’re not the butler.”
• Isabelle McNally as Madeline Loomis is wonderful in her scene with Norman. The sorrow and disheartenment she shows by unexpectedly breaking down in front of him is affecting. 
• “Feels like things are coming to a significant head.” Ya think?!
• Major props to the wardrobe department for dressing Norma in that suit and tie. That was a great look for her at this particular time in the story.
• “Fast. Aim true. Right through the brain.”
• Reminder: do not text and drive.

Read More

Bates Motel 5x02 Review: "The Convergence of the Twain" (Traître) [Guest Poster: Erin Allen]

"The Convergence of the Twain"

Original Airdate: February 27, 2017

“The Convergence of the Twain” is a poem about the Titanic disaster by Thomas Hardy, published in 1915. I love this title and the parallels one can draw between Bates Motel and the Titanic tragedy. The real life story of the Titanic remains a fascinating one even though we know the outcome. We have known all along that Norma Bates would die because she is dead in Psycho. The inevitable has happened and the aftermath is just as entertaining as the build up.

HER HEART WILL GO ON

Norman descends further into madness, but still manages to keep up appearances. He said last season that he is good at appearing normal and harmless. The delusion in his mind is that Norma faked her own death so they could be together without interference from others. The story to outsiders is that she committed suicide. In actuality, Norman had planned a murder-suicide for them which failed and made him the sole survivor. Before her death, he would slip into the role of Norma when under extreme stress. Now that stress is constant and, to justify his murder of her, he relies on this split personality.

We see him “keep her alive” in two ways: the mother with which he bickers and the mother that he turns into. He talks to her as if she’s there, even though we know that he knows her body is downstairs in the freezer. In this episode, the scenes that portray both Norman with Mother and Norman as Mother are fantastic. We get Vera Farmiga and Freddie Highmore sparring against each other as well as working together.

When they are mom versus kid, that wonderfully tense bond they’ve always had is highlighted. Norma complains of being cooped up in the house: “Pretending to be dead isn’t as much fun as I thought it would be!” She learns French to pass the time (“Just because I’m trapped in this house doesn’t mean my mind has to stagnate)”. She meddles in Norman’s affairs by showing up on his double date and asking “Norman, do you still like me?”

When Norman lets her out to play, the show edit the two of them being Mother, seamlessly. Cutting on turns of the head and the two actors affecting the same attitude made for a beautiful scene. Both Farmiga and Highmore’s performances were well-crafted, but Farmiga was just enrapturing. I don’t think I was breathing when she was on screen. From her contemplative, “I don’t think he likes me anymore,” to playfully ordering another drink (“Hit me”), every expression and intonation was spellbinding.

SHIP OF DREAMS

I can’t mention the Titanic without referring to the Normero ship. It’s probably the best correlation between the disaster and the show. Norma and Romero built a very loving relationship after overcoming many obstacles. The marriage was a sham at first, but they truly fell in love with each other. Their future was bright and promising. However, that iceberg (Norman) was biding his time in the psychiatric facility, waiting for his chance to ram a final — and fatal — blow to that magnificent ship. The eighth stanza of Hardy’s poem applies:

And as the smart ship grew
In stature, grace, and hue,
In shadowy silent distance grew the Iceberg too.

Norman asks Norma a couple of times if she still loves Romero, trying to assuage his own doubts. He tries to send a message to Romero not to mess with him, when he visits him in prison. It only serves to solidify Romero’s revenge feelings, though. Norman is a dangerous individual, albeit not a very threatening one. After getting into a fight with another inmate, Romero works with his lawyer to get a transfer so he can “stay alive and well” for Norma. “I have a responsibility to take care of the son she left behind.” We all know what “take care” means and I am really excited to get to that.

CALEB FINDS OUT

The constant reminders that Norma is dead is like a repeated stab to the heart. As we learned in the last episode, Dylan, Emma, and Caleb do not know that she died. In this episode we see Caleb learn the awful truth. Although I thought the way in which he found out was a bit lazy and unbelievable, the weight of that discovery was still heavy. I mean, the dude at the hotel lobby that Caleb checks into tells him? I’m not buying that. Also, I am kind of annoyed that Caleb went to see her at all. Was he planning on telling her about the Dylemma baby? That would’ve been rude and if that wasn’t his plan, I doubt he’d be able to keep it a secret in front of her.

No matter his intent or the use of this indolent plot device, it certainly does move the story along and Kenny Johnson’s performance as Caleb is well done. In the scene with Chick (Ryan Hurst) at the bar, he exudes pain and grief. This precedes the final minutes which were intense, to say the least.  

AND WHAT AN ENDING

Caleb busts into the house to confront (or beat up, maybe even kill) Norman. As he steps onto the porch, violins play a familiar chord. The chilling score is very reminiscent of Bernard Herrmann’s from Psycho. And the similarities don’t stop there. When Caleb finds Norma’s body in the freezer Norman comes up from behind dressed as Norma complete with wig. This echoes the scene from the film when Lila Crane discovers the mummified corpse in the cellar. My film school nerdiness came out in full force with all this. Chick walks in to see this macabre tableau and Norman as Mother says, “Now you know. I’m still alive.” To say this whet my appetite for next week is an understatement.

Motel Amenities:

• I’m sorry if any of this Titanic talk got “My Heart Will Go On” stuck in your head or added to any Bill Paxton feels. 
• Don’t ever let anyone tell you TV makes you dumb. I read and learned about a poem written over a hundred years ago because of this episode. 
• My feelings on Romero’s prison haircut haven’t changed. When he gets in the fight, he rips off his hair net which was, honestly, an improvement. 
• “Don’t lie. That is a lie. It was you. Your way of trying to get rid of me. I’m still alive.” I love Highmore’s delivery of “I’m still alive.” 
• “I feel terrible and relieved and I feel terrible that I feel relieved.” “It’s not your fault. You can’t fix something that happened before you were born and you’ve done the best you possible could with it.” Emma is so wise. Always has been.
• “The Lost Art of Mummification” book was a nice touch. 
• Nestor Carbonell did a great job of looking dazed when he got knocked out. 
• I really like this dynamic that Norman has with Sam Loomis. He has something over him, but he also is a little scared of him. I also like this deviation that the show is taking with Sam Loomis. In the film he was a sympathetic character. In Bates, he doesn’t have any redeeming qualities. He is a dud on the double date and appears to be a manipulative, uncaring husband who is cheating on his wife. He becomes an interesting adversary for Norman and it makes you root for Norman to screw with him (but, not in the killing-his-mistress kind of way).
• Norman pops his collar when he leaves the coffee shop as a menacing little gesture to Sam. When he gets back to the house, he lowers it. Nuances like this have big impact. 
• Norma makes her French computer program call Norman a traitor. She’s trolling him! 
• “Are you smoking?” “I’m dead. It’s not like it’s going to kill me.” You would think all these “I’m dead” jokes would get old, but not with these two. I eat it up.
• Norman keeps using words like “childish” and “silly” when talking to Norma, like he is the parent out of the two.
• “I’m a caretaker of a mentally ill person.”
• “Of all the gin joints, in all the towns, in all the world.” Clever line for Chick to say.

Read More

Bates Motel 5x01 Review: "Dark Paradise" (Dead Mommy Issues) [Guest Poster: Erin Allen]

"Dark Paradise"

Original Airdate: February 20, 2017

“Mother, do you ever have the same nightmare over and over again, but you can’t remember it? You just remember the feeling of it?”

Remember the feeling when Norma died at the end of last season? This season will be a constant reminder of that nightmare. There is so much pain, but it comes with the campiness and quirkiness that have become hallmarks of the show. Everything I love about Bates Motel — and the entire Psycho franchise, actually — is in this episode, and I predict this final season will be an epic ride.

MOTHER

Vera Farmiga is captivating as Norma Bates — dead or alive. Norma Bates was a beautifully complicated woman and Farmiga played her masterfully. Now, she has the task of playing Norma as Norman’s sick mental invention. Not an easy feat, I imagine. What she delivers in “Dark Paradise” is nothing short of brilliance. When she was alive, Norma was charming and sassy and feisty. As Norman’s figment she is still all those things (hashtag: blessed), but there is a subtle difference. That she’s able to achieve this is a testament to Farmiga’s talent.

Norman’s creation of this “Mother” character mixes his many confusing and deranged thoughts. Part of her is his conscience. She warns him that he shouldn’t be driving since he is prone to blackouts. Part of her is what he wishes she was like before she died. Norma had told him to deal with the fact that Alex Romero was in her life. Norman was displaced from being the center of her world. In this twisted fantasy, he reclaims that role. Another part is the mother he loved — the comforting, maternal figure that fixed everything. The conflation of these feelings creates this complex personification.

We are able to see all of that insanity going on in Norman’s head because of Farmiga’s portrayal of Mother. It is fascinating to watch. You revert back to watching Norma and then Farmiga will make a face or use a tone that reminds you that this is not that Norma. These nuances take the show to a whole other level. It is now a cerebral experience where you continually have to reinforce the nature of its reality.

Every scene between Norman and Mother delineates this new labyrinthine relationship. Farmiga’s performance is dynamic. A couple of times Mother mentions how crazy this all is. Remember this is Norman trying to tell himself this, but it comes in the form of his mother trying to talk some sense into him. “We’re doing it, right? A mentally ill boy and a dead woman. We are actually doing it,” she says, incredulously. She directly points out the absurdity, which is funny, but also disturbing and sad. Each of their scenes elicit conflicting emotions.

I really love this “new” character, Mother. We get all the delightfulness of Norma with this added demented dimension. And in Farmiga’s capable hands, we are in for a real treat.

“WE ALL GO A LITTLE MAD SOMETIMES”

As I referenced above, Farmiga as Mother is a large part of the role of Norman played by Freddie Highmore. But, she is not doing all the heavy lifting; they are sharing the weight. Much like how they helped each other carry the body to the car. Highmore gives a heartbreaking and maddening performance. His crimes are heinous, but he is also so broken and alone that you feel bad for him. In the midst of the lunacy, you are reminded that this fragile boy lost his mother, his whole world. Although, his mental disorder has him dealing with this grief in a destructive way, he tells himself — through his manifestation of his mother — that he is doing it to survive. “It is you and me, Norman. That is all that we have. We would die without each other. Do you understand that?” This is what he tells himself when he is trying to make sense of his actions. And just like Farmiga contributes a great deal with her “portion” of the role of Norman, Highmore delivers, as well. When he tells her, “Yes, Mother, I understand,” we see how everything he does now is because he is in survival mode.

An indeterminate amount of time has passed since the season four finale, and we know that Norman’s psychosis has become way more severe. But, he is struggling. He’s trying to understand. He’s trying to manage his blackouts. He’s trying to establish a life out from under his mother’s thumb (even if it is a self-imposed, imagined authority). Highmore weaves this in seamlessly. You can see his effort and how scared he is. It’s like watching someone unravel right before your eyes, but instead of a quick, clean pull of the thread, it is a tangled mess.

Highmore plays Norman a lot like Anthony Perkins did in Psycho. It’s a well-crafted, understated display. The end of the peeping tom scene didn’t really play to those strengths. It followed the version of the 1998 Vince Vaughn Psycho and it cheapened this important scene, in my opinion. We got a lot out of Perkins’ muted performance and Highmore is more than qualified to expand on that.

It’s very interesting to see Norman behave as the obstinate child when he is the one that created this mother figure to chaperone himself. He feels suffocated by her jealousy and control over him. After one of their arguments, he goes down to the cellar where Norma’s body is in cold storage. It’s kind of like he goes to frozen Norma to get away from the nagging mother of his imagination. It must be difficult to convey this strange comportment, but Highmore is doing a great job of it.

DYLEMMA

My dilemma with Dylemma is the timeline. But, first, let me say it is so satisfying to see good characters actually being happy. It won’t last long because THEY DON’T KNOW NORMA IS DEAD. I find this really out-of-character for both of them. We know quite a bit of time has gone by because they had a friggin’ baby! So even if Emma got pregnant right at the end of last season, at the very least, nine months have passed. It is hard to believe that the argument that Dylan had with Norma and Norman ordering him to stay away would keep him from telling them that he and Emma were having a child. Also, I can’t believe that Emma wouldn’t encourage him to reach out. “There’s a grandkid involved now.” When you are nodding along in agreement with Caleb, you know something is not sitting right. It’s possible that Norman interfered, making more of a rift than what we saw at the conclusion of season four. I hope it is not to just prolong what will be a really painful revelation for Dylan and Emma. It was one of the things I couldn’t stop thinking about during the nine months between seasons.

They are willing to let Caleb stay in their house with their newborn baby, but calling Norma to tell her she’s a grandmother? Nah. Emma is so judicious and reasonable when she tells Caleb he has to go, I know she could’ve come up with a way to talk to Norma and Norman.

NORMERO

Romero’s reaction to Norma’s death broke my heart last season. Watching him endure his prison sentence, thinking only of exacting vengeance, is gut wrenching. He has the photo of them from the Winter Lights Festival up in his cell. Ouch.

He is on the other end of the dead guy’s phone in the final scene. Romero has been making plans. I can’t wait to see how he tries to get to Norman from prison. He was denied parole and has two more years to serve, but we know that he is crafty and has revenge rage to fuel him.

HITCHCOCKIAN

Bates Motel does a fantastic job of doing the original source material justice and taking it in its own direction. There are direct nods to Psycho balanced with fresh interpretations.

The reference to the Hopper painting is first-rate. House by the Railroad by Edward Hopper was Hitchcock’s inspiration for the infamous dwelling. Joel Gunz has a great analysis of Psycho and its Hopperesque qualities, which you can read here. Some of his theorizations can be applied to Bates Motel, as well, since it shares some artistic attributes with the film.

The hardware store is owned by the Loomis.’ Sam Loomis was Marion Crane’s boyfriend, who worked in a hardware store in Psycho. Sam comes to the motel, supposedly with Marion — although, we never see her face. We’re not even sure it’s Sam because he gives the name David Davidson. All this is speculation, though, really. I hope this is how it goes. It’ll be an interesting narrative with Norman lusting after Madeline Loomis. Little departures like this that connect the original story but take on a life of their own are provocative. Not all shows that reinvent existing universes can pull that off.

Bates Motel is essentially Norman Bates’ origin story. The first season reeled the viewer in with its connections to the iconic film. The following seasons created and maintained its own creative storylines which were entertaining and fascinating. The last season comes full circle and really enmeshes Hitchcock’s Psycho into its modern Hitchockian reincarnation. Rather than use that as a crutch it is simply a bonus.

Motel Amenities:

• I am not liking Romero’s prison hair. It’s too short on the sides. 
• The song choices and the score were on point. 
• Norman has a line in the beginning that accurately describes Norma which kind of indicates how well he knew his mother: “She was really very artistic and always wanted everything to be beautiful. I think it was her way of fighting what wasn’t beautiful in the world and things that she couldn’t control.”
• “How’d I get so lucky?” “You had quite a tour of duty in the lower levels of hell.”
• “We don’t rent rooms for a few hours. This is the Bates Motel. We’re not that kind of establishment.” Norman says this with the sass of his mother. 
• What is Norman going to do with that Luminol? 
• “What is wrong with me? Well, let’s see. For starters, I am dead.”
• “I literally gave up my life to protect you.” Give her the Mother of the Year award. Oh, wait, she’s dead.
• It was cool how Norma appeared in the window like on the Universal Backlot Studio Tour.
• “Norman, you do not have autonomy here. You can’t just make unilateral decisions about everybody else like you’re the little dictator.” I love how Farmiga delivers this dialogue, putting emphasis on “dic.”
• It’s crazy how they can go from physical comedy when Norma grabs him by the ear and drags him back to the house to a really emotional scene where Norman remembers killing the man who lies dead in their icebox. “Mother, what is wrong with us?” “I don’t know!”
• “Well, it’s not like we haven’t done this before,” in regards to disposing of a body.
• The final scene of them in the boat dumping the body echoes the scene in the first season when they first dumped a body together. How, uh... sweet? 

Read More