Unconscious

"Unconscious," the tenth and final episode of Bates Motel's third season, directed by Tucker Gates, delivers a chilling and emotionally complex conclusion that encapsulates the season's slow-burning psychological horror and family tragedy. While the episode's pacing and narrative momentum have been points of contention, its powerful performances, thematic depth, and unsettling climax affirm the series' unique position within the modern television landscape.

The episode opens with Norma Bates (Vera Farmiga) informing Dylan Massett (Max Thieriot) that Caleb Calhoun has left town, setting a tone of loss and fractured family ties. Norma's subsequent journey to find help for Norman reveals the crushing reality of mental health care costs, a sobering reflection of real-world issues. Farmiga's portrayal of Norma's desperation and heartbreak is nuanced and deeply affecting, particularly in scenes where she confronts the limits of her ability to protect her son. The emotional weight of these moments grounds the episode's more sensational elements.

Norman Bates (Freddie Highmore) remains the psychological and narrative centerpiece. His mental state deteriorates rapidly, culminating in a harrowing confrontation with his mother's alter ego, "Mother." Highmore's performance is a masterclass in embodying fractured identity-oscillating between vulnerability, confusion, and terrifying violence. The episode's most visceral moment occurs when Norman, fully overtaken by "Mother," brutally murders Bradley Martin (Nicola Peltz), a character whose return this season has been divisive among fans and critics. This scene, executed with raw intensity and emotional complexity, serves as a grim homage to the source material and marks a pivotal turning point in Norman's descent.

The episode also weaves in subplots that add emotional texture and thematic resonance. Emma Decody (Olivia Cooke) faces the reality of her impending lung transplant, grappling with fear and hope in equal measure. Her tender scenes with Dylan provide moments of respite and humanity amid the darkness. Meanwhile, Sheriff Romero (Nestor Carbonell) takes decisive action by confronting and ultimately killing Bob Paris, a corrupt figure whose machinations have threatened the town. Carbonell's portrayal of Romero's moral complexity adds depth to the procedural elements and underscores the blurred lines between justice and vengeance in White Pine Bay.

Stylistically, Gates employs a muted color palette and atmospheric lighting that reinforce the episode's claustrophobic and foreboding mood. The cinematography contrasts intimate, emotionally charged scenes with stark, suspenseful sequences, maintaining a deliberate pace that allows tension to build organically. The editing balances moments of quiet reflection with sudden bursts of violence, while the sound design subtly amplifies the psychological unease permeating the narrative.

"Unconscious" explores motifs of denial, identity fragmentation, and the tragic consequences of secrecy and repression. Norma's struggle to accept Norman's condition and the limits of her control highlights the devastating impact of love entwined with denial. Norman's transformation into "Mother" and subsequent actions embody the destructive potential of unresolved trauma and fractured identity. The episode's title evokes the liminal space between awareness and oblivion, reflecting both Norman's mental state and the family's collective inability to confront their realities.

Critically, the episode received mixed to positive reviews. Praise centered on the outstanding performances of Farmiga and Highmore, the emotional depth of key scenes, and the effective homage to Psycho's legacy. However, some critics noted the episode's slower pacing and perceived narrative stagnation over the season, with certain plotlines feeling underdeveloped or abruptly concluded. Bradley's return and death were particularly divisive, seen by some as a forced plot device rather than organic character development.

"Unconscious" is a haunting and emotionally resonant season finale that encapsulates Bates Motel's strengths and challenges. Through layered performances, evocative direction, and intricate storytelling, it immerses viewers in a world where love and madness collide, and where the past's shadows irrevocably shape the present. While not without flaws, the episode's exploration of trauma, identity, and family dysfunction offers a compelling meditation on the human psyche's fragility and resilience.

Norma Louise Bates: "Norman I will kick your ass to the moon and back".

Bates Motel as a TV series has been pretty good so far, I mean it's a lot different from most shows base on a classic horror films. I know we Hannibal which is another TV base on movie and that's great as well. Season 3 as a season was pretty solid and as I said before this is very rare that this happens.

Vera Farmiga as Norma Louise Bates was the stand out of this season and she gave in my opinion the best TV performance of the year and she always steals the show in every episodes she's in. Her performance was Emmy worthy and I heard some rumors about the Emmy nominations and I hope there put her on the list because she owned it.

For a while now I wasn't so sure of Freddie Highmore as Norman Bates because in the first season I thought he did okay. In the second season I thought he did better, I know it's suppose to be a slow build to his craziness but if I have to judge him playing the character I say he did okay, but in this season I sawed the real Norman Bates and a break through performance from Freddie Highmore. He played the harmless boy but really he's dangerous and he pulled that off really well.

The writing was fine, the rest of the cast did good and some of the character's this time actually matted and wasn't forgettable as the other ones.

Now for problems and these not a lot that I can name off: When I said about some of the character's matted, well these some didn't and those character's are not very interesting and don't do anything with the show. This was my other problem with the previous seasons and it's still happening in this season.

Overall season 3 was a solid season just like the second season of the show.

Review By Kamal K

The Bates family begins to tear itself apart in Season 3 of Bates Motel. This season Norma makes a desperate play to save her motel by blackmailing the town's main powerbroker with a flash drive that has incriminating evidence on it; meanwhile Dillon tries to go straight as a marijuana farmer and gives his father a chance to mend their relationship. Additionally, Norman's psychosis becomes more apparent as he begins to regularly talk to and interactive with his alternate mother personality. However, despite some really interesting storylines, the writing is inconsistent; starting and stopping several subplots that don't come to much. Yet there are some incredibly powerful scenes and exciting plot turns that are quite engrossing. While it's a bit disjointed, the Bates Motel delivers a chilling and suspenseful third season..