For her part, Norma’s quicksilver changes, by turns suffocating, protecting, and snarling at her son, suggest a woman who can’t help but pass on the sins of the past, as desperately as she might wish to do otherwise. ![]() Norman’s blackouts become hallucinations, his desires dangerous expressions of unconscious rebellion against his mother’s coddling. Indeed, the forthright allusion to Psycho, as Norman spies on a beautiful guest while she showers, depicts more directly than ever before the sexual element in his murderous tendencies, and Highmore lends the character a new, leering aspect that sends a shiver of unease down the spine. Bates Motel has long used our knowledge of the inevitable to create its deliciously creepy portrait of Oedipal dysfunction, and Norma and Norman’s mutual retreat from the world (she later allows him to home school and promotes him to motel manager) cuts a clear path to Marion Crane. Each humiliation, as Norma drags Norman out of the car in front of his tittering classmates, and each embrace, as they watch old movies in bed, only narrows the number of possible outcomes. In the skillful hands of Farmiga and Highmore, treading the line between too much and just enough, Norma and Norman’s familiar cycle of tenderness, resentment, and renewed attachment becomes a downward spiral. The third season opens as summer comes to a close, and the kindly, stringy killer clings to his mother more firmly than ever, refusing to begin his senior year of high school. Intimations of incest, fevered battles, delusions of happiness: On the limited evidence of the single episode provided to critics, Bates Motel is set to double down on the madcap delights that made A&E’s Psycho prequel one of last year’s most improved series, deepening its connection to Hitchcock’s classic with the high-flying Freudian horrors of the excellent episodes “Shadow of a Doubt” and “Presumed Innocent.” It’s still a series bloated with the tiresome distractions of drug wars, crooked cops, and young love, but when Norma and Norman court and spark, Bates Motel is a scream. “Move over, you silly woman,” Norman replies, their patter suddenly queasy with camp, as if performing the roles of husband and wife. “Because I’m so sad,” she whimpers, Farmiga’s face flashing the exaggerated frown of a silent comedian. See /privacy for more information.Ĭreative Commons: Attribution-NonCommercial-ShareAlikeNear the end of the season premiere of Bates Motel, the mercurial Norma Bates (Vera Farmiga), grieving the death of her estranged mother, pleads with her son, Norman (Freddie Highmore), to spend the night in her bed. ![]() ![]() ![]() We talk with Solomon and with the Motel's Director of Theatrical Experience, Claire Chapelli, from INSIDE the Motel - our first in-person interview in over a year - about the long(er than expected) road to Elsewhere.Įlsewhere at the Madcap Motel Head Down to DTLA to Go Elsewhen and ‘Elsewhere at the Madcap Motel’ (Review) Bonus Podcast: Crafting Immersive w/Koryn Wicks & Willing Kompany The Rundown: The One That’s A Little Spicy (Reviews!) Kink Curiosity Is Rewarded At LA’s ‘Fétische’ (Review) Short Doc Recalls ‘Everyone Agrees It’s About to Explode’ (NEWSWIRE) Call Sheet (5/28/21) Review Crew: Ultra Guest Edition (Backer Only till 5/29) NoPro Patreon Get bonus content on Patreon The attraction's opening night was planned for the very night that everything shut down in California, and the project remained in limbo until opening last month. 2020 was a long year for everyone, and especially so for Paige Solomon CEO & Creative Director of DTLA's Elsewhere at the Madcap Motel.
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