Inseparable

Bates motel has become my favourite show on television. If it can hit a home run at the end it will go down as one of the greats. I still have hope that this can happen, but, it is a bit too early to tell. This episode seems to be mainly about setting up the pieces for the finale. In this last season I am a bit torn. I love that the show can still surprise me, but, I love Psycho so much I don't want the show to break away from it too much. The end of this episode really shocked me and I am all in to see how the show concludes.

We've reached the point where everything is on a level of crazy that defies belief but due to the acting and writing ability of Mr Highmore is fantastically compelling. This has become a one man show.

What a man and what a show.

Wherever the ride is going it is worth it.

"Inseparable," the seventh episode of Bates Motel's fifth and final season, directed by Steph Green and developed by Carlton Cuse, Kerry Ehrin, and Anthony Cipriano, marks a crucial juncture in the series, weaving intensified psychological drama with emotional reckonings that highlight the fracturing and tenuous connections within the Bates family. This episode stands out for its focus on the interplay between Norman Bates' delusions and his brother Dylan's desperate attempts to reclaim him from the abyss, underscoring themes of family, mental illness, and the tragic costs of denial.

Opening with a haunting homage to Hitchcock's Psycho, the episode's imagery immediately situates viewers within the mythic but fractured narrative world of the series. The shot of Sam Loomis' eye spirals outward, blending nostalgia with foreboding and reminding audiences of the show's ongoing dialogue with its cinematic roots. Yet from this symbolic opening emerges a story that zeroes in on the practical and emotional aftermath of Norman's first murder, allowing the audience a rare glimpse into the direct consequences often left unexamined in horror lore. This nuanced approach defines the episode's strength, as it refuses to shy away from the messy human reality behind the mythos.

Freddie Highmore delivers a powerhouse performance, fully embodying Norman's psychological disintegration. His portrayal captures Norman's increasingly desperate clinging to his mental constructs-the fractured but persistent presence of "Mother" within him, and his shaky attempts to maintain the illusion of normalcy. A particularly affecting scene unfolds as Norman confesses to "Mother" that he will be moving her body to protect them both, a moment suffused with vulnerability and dread. Highmore's physicality and facial expressions convey a boy overwhelmed by responsibility and haunted by loss, deepening the audience's empathy even as his actions become more erratic.

Ryan Hurst's portrayal of Chick also garners praise for its emotional complexity, particularly in scenes where he interacts with Dylan (Max Thieriot), who has returned to the Bates Motel full of sorrow and tentative hope. Dylan's confrontation with Norman is heartbreakingly rendered-his desperate plea for his brother's acknowledgment and help exposes the fraying lines between familial loyalty and self-preservation. Thieriot's body language, torn between strength and vulnerability, enriches the episode's emotional core and provides a grounded counterbalance to Norman's volatile realities.

Phil Abraham's direction creates a strong atmospheric framework, using muted color palettes and rich, naturalistic lighting to emphasize the cold isolation suffusing Norman's world. The scenes of Norman burying Norma's body in the woods are visually arresting, combining the eerie beauty of nature with the chilling undercurrent of death and denial. The pacing of the episode oscillates between tense, suspenseful moments and slower, reflective ones, allowing emotional beats space to resonate without sacrificing narrative momentum.

The episode also deftly weaves in peripheral narrative threads, especially Sheriff Romero's return and his interactions with Maggie, which, though secondary, add compelling layers that reflect the broader impact of the Bates family's unraveling on the community. Nestor Carbonell imbues Romero with a quiet dignity and palpable pain, deepening the narrative stakes.

While the episode's psychological and emotional focus is its strength, some critics have noted a downside in pacing and occasional narrative indulgence, with moments feeling lingering or diffuse. Nevertheless, these elements contribute to the immersive psychological atmosphere that defines the season's tone.

"Inseparable" is profoundly themed around bonds-familial and psychological-that bind and suffocate. The episode interrogates denial as both a form of protection and a destructive force. The titular concept resonates deeply as Norman and "Mother"'s intertwined identities tighten around him like a noose, leaving Dylan and others scrambling to hold onto what remains of Norman's fractured humanity.

"Inseparable" stands as a poignant and psychologically intricate episode that brings the fractured Bates family into uneasy convergence. The compelling performances, especially from Freddie Highmore and Max Thieriot, alongside Steph Green's sensitive direction, craft an episode dense with emotional gravity and suspense. Through its exploration of denial, familial duty, and madness, "Inseparable" encapsulates the overarching tragedy of the series, inviting viewers to reflect on the fine line between love and control, reality and delusion.