First You Dream, Then You Die

At first glance, I did not think Bates Motel sounded like a good idea. Alfred Hitchcock's Psycho is an amazing film, and all remakes or sequels/prequels of that film has failed because they could not stand up to the original. Plus there is that thing in today's world where it is considered cool to make new material based on pre-existing material often to mediocre results. Which is understandable why I and many others were hesitant when this show was announced. After this pilot episode, "First You Dream, Then You Die, " I came away rather impressed. Yes, the episode feels like a pilot, but there was enough material to keep me intrigued.

I loved the setting of the film. The showrunners moved the film to modern day but I love the use of outdated fashion, technology, etc. It gives the show more of a creepy vibe. Speaking of which, I liked how they kept the house and motel intact from the original film, although it became more clearer because you know, it is not 1960 anymore. The small-town feel is great and is important in a series like this.

I think the characters we are introduced to (or reintroduced) work well and the cast is great and well-rounded. Let's start with the characters and actors whose chemistry will make or break the show; Freddie Highmore as Norman Bates and Vera Farmiga as Norma Bates (also known to us as "Mother"). Highmore as Bates is a little dry in the pilot, but he gets way better. He has big shoes to fill, but he is just getting used to those shoes here. He has his tendency to look/act nervous very well and we see the buds being placed which of course would blossom into him being a full-fledged serial killer. Vera Farmiga impressed me. She gives Norma a complete range of emotion. She is a caring and loving mother to Norman, but she is also manipulative, demanding, and only wants Norman for herself. Other characters here: Max Theriot as Norman's brother, Dylan Massett. We only hear his voice here, but we will meet him next episode, Nestor Carbonell as the Sheriff Alex Romero. Carbonell is great in these kind of roles so it is a no-brainer he plays the town's sheriff, Nicola Peltz as Bradley Martin who is the typical teenage girl that gets around, but she welcomes Norman to her group, and Olivia Cooke as Emma Decody, who is also a teenaged girl that welcomes Norman and she suffers from a disease that can make her not breathe well. Other characters to take note are W. Earl Brown as Keith Summers, Keegan Connor Tracy as Miss Watson and Mike Vogel as Deputy Zach Shelby.

Let's discuss the story of this pilot, shall we. Six months after the untimely death of her husband, Norma Bates and her son Norman moves to White Pine Bay, Oregon. Norma purchased a motel from a foreclosure sale. She has plans to patch the place up and have it open for business. There are problems she must face including the constant threats from previous owner Keith Summers and the town's plan to build a bypass around the town thus taking business away from the hotel. Norman gets accepted at his new school, despite his mother not being pleased. When Norman escapes in the middle of the night to party with them, Keith Summers will show exactly why he does not like Norma.

Overall, this is a very intriguing start to this new series. There is much to take in and it gives me hope that this show will actually turn out well. The showrunners Carlton Cuse and Kerry Ehrlin seems to know what they are doing. They can tighten up the dialogue and maybe we could do without that vicious and rather degrading sexual assault scene, but this episode marks a good start to the series. I love the creepy, small-town atmosphere and I like how these characters are being developed.

My Grade: A-

Hour-long "psychological" drama? Check. Unnecessary modern adaptation of a superior work? Check. Overdone mood lighting in every scene? Check. Teenagers interacting in ways that teenagers do not interact in? Check. Unpleasant and draining to watch? Double check.

They're all very similar, so if you are into any dramatic shows made in the last ten years or so you will probably enjoy this too. I lost interest before the end of this first episode, in which a young Norman Bates (a perfectly cast Freddie Highmore) moves to a new town following the mysterious death of his father. Naturally his mother Norma (Vera Farminga, who I usually enjoy watching) is right there with him. Together they open the soon-to-be-infamous Bates Motel and more bad things happen from there.

I gave it a shot, but it's not my cup of tea. I think I'll watch "Psycho" instead.

Alfred Hitchcock's "Psycho" is on of the best films ever made in my opinion and I often believe that some things should just be left as they are (the remake was utterly pointless in my opinion). And so I was in two minds as to whether I should watch Bates Motel. I wrongly assumed that it would be set in the 1940's/50's to tie in with the original movie but to my surprise it is set firmly in the 21st Century, which is by no means a bad thing. Brit Freddie Highmore is really good as young Norman, though he looks older than the 17 year old that he's playing (he was 21), and Vera Fermiga makes for a very hot looking Mom. There are some nice retro touches, for example Mrs Bates drives a lovely looking classic Mercedes, bit of a nod to the original maybe. First time viewing for me, hopefully I will stick with the rest of series 1.

"First You Dream, Then You Die," the pilot episode of Bates Motel, developed by Carlton Cuse, Kerry Ehrin, and Anthony Cipriano and directed by Tucker Gates, serves as a compelling and atmospheric introduction to the dark, psychological world that reimagines the origins of Norman Bates, the infamous character from Alfred Hitchcock's Psycho. This episode skillfully blends suspense, character study, and a brooding sense of unease, setting the tone for a series that explores the complex and often toxic relationship between Norman and his mother, Norma.

The narrative begins with a haunting and pivotal moment: Norman Bates (Freddie Highmore) discovers the corpse of his father, Sam Bates, in the family home. This discovery is not only a catalyst for the unfolding drama but also a symbolic representation of the fractured family dynamic that will dominate the series. The opening sequence is charged with tension and foreboding, underscored by Highmore's nuanced portrayal of Norman-a shy, socially awkward teenager whose innocence is shadowed by an undercurrent of psychological disturbance. His tentative interactions with his mother, Norma (Vera Farmiga), reveal a deeply codependent and complex bond, foreshadowing the emotional and psychological entanglements that will define their lives.

Norma's character is immediately established as a fiercely protective and resourceful woman, grappling with the recent loss of her husband while attempting to provide stability for her sons. Farmiga delivers a powerful performance, capturing Norma's vulnerability, determination, and simmering anxiety. The episode deftly explores her motivations, including her decision to purchase the dilapidated Bates Motel in the coastal town of White Pine Bay, Oregon, as a means to start anew. This setting-a small, eerie town with its own secrets-becomes a character in its own right, reflecting themes of isolation, decay, and hidden darkness.

The arrival of the motel's former owner, Keith Summers, introduces an immediate external threat, as he attempts to intimidate Norma into relinquishing the property. This conflict not only propels the plot but also highlights Norma's resilience and willingness to confront danger head-on. The episode also introduces key supporting characters, including Norman's older brother Dylan (Max Thieriot), whose troubled past and rebellious nature contrast with Norman's introversion, adding familial tension and depth.

Stylistically, the episode benefits from Tucker Gates's careful direction, which balances intimate character moments with suspenseful sequences. The cinematography employs muted colors and shadowy compositions that evoke a sense of unease and impending doom, reminiscent of Hitchcockian suspense while maintaining a contemporary sensibility. The editing maintains a deliberate pace, allowing the psychological tension to build gradually without sacrificing narrative momentum. The sound design and score further enhance the atmosphere, weaving subtle cues that underscore the characters' emotional states and the story's darker themes.

One of the episode's most memorable scenes is Norman's awkward and unsettling encounter at a high school party, where his social isolation and internal struggles are laid bare. This scene not only humanizes Norman but also hints at the psychological complexities that will unravel as the series progresses. The interplay between Norman's innocence and the darker impulses lurking beneath the surface is a central thematic thread, expertly introduced here.

Thematically, "First You Dream, Then You Die" explores motifs of family dysfunction, trauma, and the blurred boundaries between love and control. The episode sets up the mother-son relationship as both nurturing and suffocating, a dynamic that will drive much of the narrative tension. It also touches on themes of identity, secrecy, and the haunting legacy of past violence, positioning the series as a psychological thriller that probes the origins of evil rather than merely depicting its consequences.

Critically, the episode was well received for its strong performances, particularly from Farmiga and Highmore, and its atmospheric storytelling. Some critiques pointed to the challenge of living up to the iconic status of Psycho, but most agreed that the show carved out its own compelling space by focusing on character depth and psychological nuance rather than mere homage. The pilot successfully establishes a mood of creeping dread and emotional complexity, promising a series that is as much about internal horror as external threats.

"First You Dream, Then You Die" is a masterful pilot that lays a solid foundation for Bates Motel's exploration of psychological trauma and familial bonds. Through compelling performances, evocative direction, and a richly layered narrative, it invites viewers into a world where the ordinary masks the sinister, and the past's shadows loom large over the present. The episode not only honors the legacy of Psycho but also expands it, offering a fresh and haunting perspective on one of cinema's most enigmatic characters.

BATES MOTEL "First You Dream, Then You Die (PILOT)" Advanced Screening Review Courtney Garbera

As the pilot episode of A&E's Bates Motel drew to a close, I actually dreaded not knowing what was going to happen next. I wanted it to continue and had hoped that a bonus episode would close my night out. But, alas, I must wait with the masses to find out how this contemporary prequel to Psycho unfolds.

Starting out with a death, Bates Motel automatically introduces us to Norma and Norman Bates (played by Vera Farmiga and Freddie Highmore, respectively). Young Norman is dragged by his mother to a dingy motel in what appears to be a small and quiet town. Their relationship isn't inappropriate, yet the lingering looks and constant touching make this mother/son relationship borderline disturbing. The chemistry that Farmiga and Highmore have is what will definitely make this show a much watch, wanting to see how this doomed relationship plays out on our television.

I do not wish to reveal much more of what happens in the pilot, for fear of being taken out by a sniper hired by A&E. However, I can say that this show will most likely be a critical darling, yet may struggle to find an audience. Disturbing and mysterious, this show evokes Poe as much as it does Hitchcock, a show the masses may not appreciate. I wait eagerly for March 25th, when I can see the second chapter of this intriguing prequel. Well played, A&E. Well played.