12/1/2022 0 Comments Bates motel all seasons![]() ![]() It’s touches like these that bolster confidence in a series that’s rarely slipped up in four-plus seasons. We can believe one would become the other, allowing us to better understand the Bates born nearly six decades ago while remaining intrigued where this 21st century Bates ends up. It’s a subtle shift fitting Norman’s slightly off-kilter perception of his mother, but one you’ll adore once you notice it.Įverything that makes “Bates Motel” great connects to what initially fascinated us about “Psycho.” The sick, twisted, inner sanctum of the motel and its manager have been beautifully expanded upon, with every addition built on the ever-so-important foundation: character. Freddie Highmore’s take on Norman Bates feels like an honest precursor to Anthony Perkins’. The executive producer and Emmy nominee (for Season 1) has been a consistent delight throughout the series, but now, free from the moral tortures of the living, she’s relishing the opportunity to go full-on nutbag with Norma. That being said, Farmiga is off the chain. But to see it come through on so many levels at once, from two performers capturing the same essence, really drives home the depth of Norman’s madness. ![]() It’s why she’s the one who kills, not Norman. Norman has always seen his mother this way. She’s a little bit more flirtatious, a touch more bitter, and absolutely more volatile. ![]() The cross-cutting clearly illustrates how well Highmore has studied his fellow performer’s mannerisms as Norma, but what’s interesting - and, frankly, amazing - about the scene is how he subtly emphasizes character traits Norman sees in his mother. To convey the switch as well as Norma’s ever-increasing presence in Norman’s mind, Ehrin cuts back and forth, mid-speech, between Freddie Highmore and Vera Farmiga - both playing Norma. Norman, in the middle of one of his blackouts, has begun acting as though he’s Norma. Never is this better illustrated than in a seemingly simple scene during Episode 2. READ MORE: A Chat With Tom Hardy: Is His ‘Taboo’ Killer a True Shaman or ‘Just F***ing Mad’? There’s a still combative nature to their relationship, even if its motivations are slightly tweaked to fit Norman’s views of his mother. How and when she appears is dictated specifically by his well-being, but his understanding of his mother conveys her sense of self clearly. But the way Norma is formally presented is truly impressive: Directed by Tucker Gates and written by Ehrin, the first two episodes highlight Norma’s unnerving presence with ethereal movement grounded only by Norman’s mind. She’s always been a part of Norman’s subconscious, and we saw in the finale how he would continue to manifest her presence to keep himself sane. The show is steadfastly focused on its core couple - Norman and Norma - even after the latter’s tragic fate in Season 4.Įxactly how Norma pops up in Season 5 should come as no surprise. But through two episodes, there’s not a sighting or a hint at her arrival. READ MORE: ‘Planet Earth II’ Review: A Revival With Greater Purpose Than Meets the EyeĪnd we still haven’t seen Marion Crane! Film fans and TV followers alike have been abuzz over the casting of Rihanna as the legendary Bates Motel guest first played by Janet Leigh. And by the end of the second episode, fans will be treated to a first for the series and a spot-on callback to the film. There’s a subtle nod to the iconic shower scene in the first episode, when Norman mentions how he just finished installing new curtains. We get our first glimpse of Norma’s permanent residence, or at least what we suspect is her final resting place, given how we’re first introduced in the film. The final season is steeped in more Hitchcockian lore than ever. Fifty-seven years later, “Bates Motel” is filling in the details by fleshing out Norman’s motivations, psychological state, and ultimate descent into madness. Part of the brilliance within Kerry Ehrin’s deep exploration of Alfred Hitchcock’s characters is how even in the modern day - and even while always promising an ending independent of the film’s narrative - it feels as though we’re being given crucial backstory to a character we only came to know as a pervert, murderer, and psychopath - in that order. “ Bates Motel” could not exist without “Psycho,” but soon it could feel like the other way around. ![]()
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