The third season of Bates Motel really stepped up its game and, after two years, stopped hinting about Norman’s “condition” and started demonstrating its terrifying effects. By the time the season finale (episode ten, Unconscious) aired, we had already seen Norman (Freddie Highmore) “become” his mother once, but more frequently imagine that a “slutty” version of her is real, directing him to take action. In episode ten, we are left with an ending in which he takes that action.
But first, after multiple set-ups in the penultimate episode last week, let’s see what happens with other storylines. As predicted by almost anyone who watches television drama, Dylan’s (Max Thieriot) father, Caleb (Kenny Johnson), has indeed run out on him. In typical fashion for her, Norma (Vera Farmiga) attempts to console him, “People are generally disappointing, honey; don’t let it kill you.” Dylan later calls Caleb and says, “You didn’t think I’d notice? Well, I noticed. Go to hell!”
He’s comforted, though, by finally taking the next step with Emma (Olivia Cooke). When her father tells her there are new lungs waiting for her at the hospital, she freaks out and runs off. Dylan finds her, worrying about her body rejecting the transplant, “At least this way I can live in denial. I just want some control over my life.” He comforts her, “You’re the bravest person I know. You’re a frickin’ warrior.” And… they kiss!
Meanwhile, Sheriff Romero (Nestor Carbonell) overhears the DEA’s plan to raid Bob Paris (Kevin Rahm). In the afterglow of the rare moment of honesty he shared with Norma last week, he visits to apologize for being unable to protect her. She is again vulnerable with him, “I’m so scared because he’s my son and he’s broken.” Then, she shrugs it off as only Norma can do, “Oh, well, we’re all doomed in the end, right?” Romero decides to warn Paris about the raid. But that doesn’t mean he’s letting him off; it seems he just wants to take matters into his own hands.
And finally… while previous episodes of the season have given us short scenes depicting Norman’s breakdowns, interspersed with other storylines, Unconscious gives us a long, uninterrupted set of scenes dealing with just Norman and his mother(s). After visiting a mental institution only to find out she probably can’t afford it, not to mention the fact that Norman has neither been diagnosed nor has insurance, she asks her son if she can talk to him for a moment.
She calmly confides in him, “I’m worried about you. The blackouts are getting worse. I think you need help… Help that I cannot give you. I mean, real doctors. I’m not always going to be in this world; you’re going to outlive me. I want you to be safe.” Norman non-calmly responds, “I’m glad we had this talk of yours. I’m glad to see where we stand. You’ve given up on me.” This realization causes him to decide to leave town with Bradley (Nicola Peltz). However, Norma catches him packing…
“It may be hard for you to believe, but I don’t need you any more,” he says. It turns out no one told Norma that Bradley had faked her own suicide, so she thinks her son has brought her back to life in his head. Chaos ensues. Someone may take a tumble down stairs and someone may get knocked out and dragged to the basement. Norma calls Dylan, “Norman’s gone completely out of his mind. I’m scared; I need help.”
When Dylan arrives and informs Norma that Bradley is really alive, it dawns on her, “You mean he could really be running off with her?” He replies, “Yeah, but he could also be seeing shit that isn’t there.” I suppose I should end here with the recap; I’ve already been too generous with the spoilers. Let’s just say the final sequence is taut, suspenseful and downright scary. It ends violently, not exactly with a cliffhanger, but certainly leaving us to wonder what will happen next.
Those last couple of sentences could also describe the entire third season of Bates Motel. Its episodes have been more consistently even than previous seasons. Its main storyline, the breakdown of Norman Bates, made progress; it was no longer simply treading water. And the other storylines felt less annoying because they were important to the development of the characters. Add these factors to what has always been best about the series, the acting and the creepy/touching relationship between mother and son, and I vote for Bates Motel as TV’s most improved show.
