The Cord
- Episode aired Apr 24, 2017
- TV-MA
- 43m
IMDb RATING
9.2/10
2.4K
YOUR RATING
Norman Bates comes home.Norman Bates comes home.Norman Bates comes home.
Aiden Lane Robson
- Dylan (Amy's Son)
- (as Aiden Robson)
Storyline
Did you know
- TriviaAfter kidnapping Norman (Freddie Highmore), Romero (Nestor Carbonell) calls him a "sick f**k". This is the only time in the series that profanity stronger than "sh*" is used.
- GoofsDylan appears shirtless in one scene with no tattoos where in the previous season (4) he appeared shirtless with Emma revealing tattoos on his upper arms and rib cage.
- Quotes
Norman Bates: We're not a family without you, Dylan.
- SoundtracksWhatever Will Be, Will Be (Que Sera, Sera)
Written by Jay Livingston and Ray Evans
Performed by Doris Day
Featured review
Season 5 (10/10 stars): Going "Full Psycho"-And Beyond
For four seasons, Bates Motel-regardless of its quality, which usually was excellent-was a bit of an enigma. Was it prequel to Alfred Hitchcock's Psycho (but how could that be, set in "modern day"?). Was it a re-imagining of the themes of that 1960s masterpiece? In season five, Bates Motel definitively answers that question, while also managing to still "be both" in a roundabout sort of fashion.
The first 4-5 episodes here give "Psycho prequel-ists" like me exactly what we've been salivating over for years-a glimpse of Norman (Freddie Highmore) running the motel while living with the apparition of his beloved mother Norman (Vera Farmiga). The character study of Norman's duality is so nuanced and impressive that it could probably be used in psychology courses. Every one of these installments is 10/10-outstanding stuff. The introduction of new character Madeline Loomis (Isabelle McNally) is a series high point for the effect she has on Norman's fragile psyche.
The middle of S5 then throws viewers a momentous curveball-Marion Crane (Rihanna) emerges. What?! Definitively breaking from the "prequel to Psycho" mold, Bates Motel firmly lands in the "re-imagining" camp-and does it quite well. While the casting of Rihanna is a bit odd and maybe (in retrospect) not the best choice, the concept is impressive. It doesn't shot-for-shot copy the Hitch original, but it does hew close enough to make sense and keep the viewer in suspense and awe over what might happen next. An at-first seemingly odd angle featuring the enigmatic Chick (Ryan Hurst) actually helps quite a bit in putting the whole thing in context (I wish this had been followed up even further instead of being unceremoniously dumped in later episodes).
The final 2-3 episodes set up-then execute-one of the best series endgames ever crafted for scripted TV drama. Somehow, showrunners Carleton Cruse & Kerry Ehrin not only expertly conclude the Norma/Norman saga, but also give fitting, narrative-fulfilling ends to Alex Romero (Nestor Carbonell), Dylan (Max Thieriot), and Emma (Olivia Cooke). You'll feel for all of them-including Norman, which is a remarkable feat-as they each struggle to do what they feel is right to survive the trials of life and loss. Certain visuals and music cues echo Psycho with eerie prescience, while others are wholly original and circle back to the show's early goings.
Overall, S5's duality is what earns it my highest 10/10 mark. The show finally has to reckon with its exact positioning to Psycho, and does so in such a way that will satisfy (if not astound) all but the most slavish devotees. Multiple moments within these episodes will leave you deep in thought-or with your jaw on the floor-or extremely emotional considering the ride taken for multiple years with these characters. When all is said and done, the result is a poignant swan song for a series that expertly walked the tightrope of enormously popular intellectual property melded with original, fresh storytelling.
The first 4-5 episodes here give "Psycho prequel-ists" like me exactly what we've been salivating over for years-a glimpse of Norman (Freddie Highmore) running the motel while living with the apparition of his beloved mother Norman (Vera Farmiga). The character study of Norman's duality is so nuanced and impressive that it could probably be used in psychology courses. Every one of these installments is 10/10-outstanding stuff. The introduction of new character Madeline Loomis (Isabelle McNally) is a series high point for the effect she has on Norman's fragile psyche.
The middle of S5 then throws viewers a momentous curveball-Marion Crane (Rihanna) emerges. What?! Definitively breaking from the "prequel to Psycho" mold, Bates Motel firmly lands in the "re-imagining" camp-and does it quite well. While the casting of Rihanna is a bit odd and maybe (in retrospect) not the best choice, the concept is impressive. It doesn't shot-for-shot copy the Hitch original, but it does hew close enough to make sense and keep the viewer in suspense and awe over what might happen next. An at-first seemingly odd angle featuring the enigmatic Chick (Ryan Hurst) actually helps quite a bit in putting the whole thing in context (I wish this had been followed up even further instead of being unceremoniously dumped in later episodes).
The final 2-3 episodes set up-then execute-one of the best series endgames ever crafted for scripted TV drama. Somehow, showrunners Carleton Cruse & Kerry Ehrin not only expertly conclude the Norma/Norman saga, but also give fitting, narrative-fulfilling ends to Alex Romero (Nestor Carbonell), Dylan (Max Thieriot), and Emma (Olivia Cooke). You'll feel for all of them-including Norman, which is a remarkable feat-as they each struggle to do what they feel is right to survive the trials of life and loss. Certain visuals and music cues echo Psycho with eerie prescience, while others are wholly original and circle back to the show's early goings.
Overall, S5's duality is what earns it my highest 10/10 mark. The show finally has to reckon with its exact positioning to Psycho, and does so in such a way that will satisfy (if not astound) all but the most slavish devotees. Multiple moments within these episodes will leave you deep in thought-or with your jaw on the floor-or extremely emotional considering the ride taken for multiple years with these characters. When all is said and done, the result is a poignant swan song for a series that expertly walked the tightrope of enormously popular intellectual property melded with original, fresh storytelling.
helpful•1318
- zkonedog
- Jul 3, 2019
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