ByJoe Brunett, writer at Creators.co
Video Editor from Upstate New York. Currently living in Portland, Oregon.
Joe Brunett

Rarely does Norma get to live a normal life whether it's purchasing a new phone, having a moment with an old friend, or having a "family" dinner, except for this episode.

This wonderful episode starts out with Dylan asking Emma to dinner for her help with Norman. Although, we all know that it's more than that by their awkward sexual tension we've been seeing. The fact that Emma's dad came to come get her, to get her out of this "dangerous" environment for her safety worries me. Carlton Cuse wouldn't give us this information if it didn't fit in with the story. I feel that we are unfortunately creeping up onto Emma's downfall. I really like Emma as a character, and it would cause much debate if something happens to her. The fact that we are seeing her and Dylan become closer, just means something negative is bound to happen.

Norma then ends up getting a new phone, finding out about Romero and that he's been shot. In this scene Norma acts out on how Norma left. Something subtle that I feel is significant to this scene is towards the end Norman is carrying Norma's purse. This may, or may not have been on purpose but I feel in Carlton's case, it was meant to happen. These little signs of Norman transforming into Norma are becoming bigger and more noticeable.

We learn some information on Romero's parents when he looks at the jump drive. Dylan is utterly focused on retrieving enough money to save Emma. Dylan informs Norma about Norman and that he needs immediate help. But something happened in this episode that triggered the same emotion throughout the rest of the episode.

James Finnegan comes into the picture when he shows up at the Bates' house. He's worried about Norma after she stormed out on him. Norma then brings him down to the cellar to talk to Norman. Norman seems normal at first, holding his precious scalpel. James begins to ask Norman questions. Norman initiates an inappropriate question, "How was it sleeping with my mother"? We gather information on Norman when he talks about "shutting the world out" and the "buzzing" sensation he feels. This gives us more of an inside look into Norman's mind. After a short, fierce conversation about Norma, James asks Norman, "Do you want to sleep with you Mother"? This sends Norman into great insanity; he chokes James violently.

The thing that makes this such a tremendous scene is that Norman is finally understanding what he wants. In reality, he really does want to sleep with his mother. He never wants to let her go, and the thought of her with another man drives Norman mad. Norma delivers the glorious classic line, "we all go a little mad sometimes" referencing the original film Psycho when Anthony Perkins says it in the parlor. This gives us a pretty good idea that we will hear that phrase in the future from Norman.

The "extended family" dinner scene is there for a reason. Caleb shows true regret by continually trying to make things right with Norma; she finally invites him in for dinner. Dylan and Emma cancel their "date" to have dinner with the family, and Romero ends up staying. Everyone has someone in this scene, except Norman. The sense of normality occurs when Caleb and Norma perform a duet to reminisce being kids. Dylan, Emma, and Romero watch as they smile along. The emotion of happiness is represented rarely in this show, but this scene shows the audience that bliss is possible with these characters. Until Norman walks in. The entire emotion of the scene is ruined when Norman walks in the room. He tone brings down the light of the mood. He sees Caleb sitting next to Norma and brings on a psychotic look. During the dinner, we see everyone enjoying and talking with one another except for Norman. He is in his own world of isolation, and knows it.

The incredible ending consists of Norman, sitting next to his sleeping mother feeling her dress. The fact that Norman now understands his intent, gives us a brief preview of the Norman Bates we all know.

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