Ocean View

Bates Motel: 'Ocean View' (2013)

Rating: C+

A&E's "Bates Motel" mini-series is basically going to be re-working PSYCHO IV. If you've seen that film then you know it shows what was going on with Mrs. Bates and Norman before the events in the original Alfred Hitchcock film. While that prequel wasn't perfect, it at least put a nice wrap-around story to the original film.

The fifth episode picks up with Norma (Vera Farmiga) in jail and Norman (Freddie Highmore) and Dylan (Max Thieriot) trying to figure out how they're going to get her out. While all of this is going on Dylan tries to explain to Norman that it's time he breaks free of his mother and he has the idea that the two of them should move somewhere together. While all of this is going on there are yet more twists in the story dealing with the sex slave as well as Dylan getting into his own trouble.

I must admit that I found this episode to be the worst so far and in fact I'd go as far as to say it's downright idiotic. I'm not going to give away major spoilers but there is way too much stuff happening in this small town to be believed and there's certainly way too much going on in this one episode. Everything seems to be rushed because there are so many stories opened and closed within this one episode and the entire thing just seems to be going on way too fast. We get this big dramatic moment at the end of the last episode with Norma getting arrested but how it plays out here is just too simple and too stupid. I'm not going to ruin the trouble that Dylan gets into but I just had to shake my head. Yes, it's unexpected but it's just too far-fetched for its own good and especially the outcome (with apparently no cop interested). As with the previous episodes, the performances are all extremely good and Farmiga is really taking this role on as her own. As her character begins to crack mentally the actress is really pulling it off wonderfully. Hopefully the rest of the series gives her something better to do.

"Ocean View," the fifth episode of Bates Motel's first season, directed by David Straiton and developed by Carlton Cuse, Kerry Ehrin, and Anthony Cipriano, presents a complex and emotionally charged installment that deepens the psychological and narrative layers of the series. This episode skillfully balances the intimate family drama with the broader mystery and suspense that define the show, while exploring themes of trust, betrayal, and the consequences of secrets in the eerie town of White Pine Bay.

The episode opens with Norman Bates (Freddie Highmore) returning from an intimate night with Bradley Martin, a moment of youthful optimism that is quickly shattered by the news that his mother, Norma Bates (Vera Farmiga), has been arrested for the murder of Keith Summers. This jarring juxtaposition sets the emotional tone for the episode, highlighting Norman's vulnerability and the precariousness of the family's situation. Highmore's portrayal of Norman's conflicting emotions-hope, fear, confusion-is nuanced and compelling, capturing the turmoil of a teenager caught between innocence and the dark realities surrounding him.

Norma's arrest and subsequent bail proceedings form a central narrative thread. Despite the gravity of the situation, Norma maintains a defiant and protective stance, refusing help from her sons and insisting that the charges will be dropped. Farmiga delivers a powerful performance, embodying a woman whose strength is interwoven with denial and desperation. The tension between Norma and her sons, particularly the strained relationship with Dylan Massett (Max Thieriot), is palpable. Dylan's offer to take Norman in and his own struggles with belonging add emotional depth and complexity to the family dynamic.

Parallel to the family drama, the episode advances the investigation into the dark underbelly of White Pine Bay. Norman and Emma Decody (Olivia Cooke) follow clues that lead them to discover the Chinese sex slave hidden on Officer Shelby's boat, a revelation that expands the narrative's scope and introduces new layers of danger and intrigue. Emma's character continues to provide a grounded and empathetic perspective, her interactions with Norman highlighting themes of friendship, loyalty, and unspoken affection. The scene where Emma confronts Norman about his preoccupation with Bradley adds emotional nuance, illustrating the complexities of adolescent relationships.

Stylistically, the episode benefits from David Straiton's direction, which balances intimate character moments with suspenseful sequences. The cinematography employs muted tones and atmospheric lighting that evoke a sense of foreboding and emotional tension. The editing maintains a steady pace, allowing the narrative to unfold with clarity while building suspense. The sound design and score subtly underscore the episode's emotional beats and thematic undercurrents.

Thematically, "Ocean View" explores motifs of trust and betrayal, the fragility of family bonds, and the loss of innocence. The episode's title evokes a sense of longing and escape, contrasting with the claustrophobic emotional environment the characters inhabit. The discovery of the sex slave and the ongoing investigation into Keith Summers's disappearance underscore the pervasive corruption and hidden horrors lurking beneath the town's surface.

"Ocean View" received mixed to positive reviews. Praise centered on the strong performances of Highmore, Farmiga, and Cooke, as well as the effective blending of family drama with mystery and suspense. Some critics noted tonal inconsistencies and a sometimes meandering plot but acknowledged that the episode successfully deepened the emotional stakes and narrative complexity.

"Ocean View" is a multifaceted episode that advances Bates Motel's first season with emotional depth, narrative intrigue, and thematic richness. Through layered performances, evocative direction, and intricate storytelling, it immerses viewers in a world where trust is fragile, secrets are deadly, and the search for truth is fraught with danger.

I seem to be in the minority, but I liked this episode, "Ocean View." Granted, many plot developments are thrown at us but I was more interested in the character development in all of our characters. In this episode, Norma is even loonier than usual, Norman continues to fall out with his mother but furthers his relationship with Emma (and moves further away from Bradley?), and Dylan decides to act brotherly towards Norman. As we progress farther into Season 1, Freddie Highmore is becoming more and more like Norman Bates and Vera Farmiga continues to shine as Norma.

After an eventful night with Bradley, Norman returns home to see that Norma has been arrested for the murder of Keith Summers. The judge posted bail for one-hundred grand, so Norman decides to post the motel as collateral. Norma, still salty over Norman opening up to Dylan, tells them both to stay out of her business. Dylan mentions to Norman that he can live with him and his new friend/co-worker is shot, so he seeks revenge. Meanwhile, Dylan and Emma continue on their adventure for the Chinese sex slave and they discover her on Officer Shelby's boat. After a sexually-charged night, Bradley ignores Norman's texts.

This episode has a lot going on so it's best to pay attention or you may miss something. The tone is all over the place so I can see why it would be jarring. One moment it is a teen drama, next moment it's an adventure story, and the next moment a bumbling comedy. I think that worked well with me because this does not have to be entirely a psychological horror drama, but it can be about the growing pains of a teenager. The relationships between Norman and the girls affected me here. It is clear that Emma has a crush on Norman, but it is painful to see because her illness is getting in the way and Norman is still pining over Bradley despite her being a no-show. I also liked how the Norma is introduced to the Chinese sex slave drama, but she does not believe a single word of it mainly because she believes in Officer Shelby. That might be a big mistake, Norma.

My Grade: A-