A&E’s Bates Motel
Season 5, Episode 4: “Hidden”
Directed by Max Thieriot
Written by Torrey Speer

* For a recap & review of the previous episode, “Bad Blood” – click here
* For a recap & review of the next episode, “Dreams Die First” – click here
Pic 1Now that Chick (Ryan Hurst) is officially in on the body count, how will things unfold for him going forward with Norman (Freddie Highmore) and Norma (Vera Farmiga)?
First of all, they’ve got to deal with the corpse of Caleb (Kenny Johnson) that’s sprawled in the middle of the road. Norman wouldn’t mind calling the sheriff, though the other two aren’t so sure about that option. And clearly Chick isn’t keen on that for being the one to have hit him. Seeing Norman navigate conversation between a dead woman and a living man is delightfully disturbing. Then Chick takes the corpse, Norman takes the groceries, and that’s that!
Can’t forget about Alex Romero (Nestor Carbonell). He’s been shot on a farm while heading back towards White Pine Bay. He pleas with the kid who shot him for a bit of first aid, so on. Not like Alex is going to the cops, having escaped a police transfer last episode. What motivates him seems to be just an utter need, a burning desire to get home and deal with Norman, once and for all.
Pic 2I love Chick. He’s so weird and quirky, but not too much. He is way out there. Not so far that it’s annoying or that it doesn’t fit. Sort of nice to see someone amongst this cast of characters over five whole seasons who isn’t the same typical White Pine Bay resident like all the other greasy, crooked people that exist in their small town.
Speaking of their community, there’s a new sheriff: Jane Greene (Brooke Smith). What a mess she’s inherited.
At home Norman isn’t happy with “how things are.” He and mother aren’t seeing eye to eye, he doesn’t like that things never go how he plans. More than that the two of them argue about dresses like the wild maniacs they are. And nothing feels better once Sheriff Greene comes poking around to meet Norman. Jim Blackwell, the man who came to kill him, has skipped on his parole; she found the Bates address in his belongings. She worries Alex, who’s now escaped, might be coming to cause problems. Or that there’s something both Blackwell and Alex are after, perhaps in the house, in the motel. Not good for Norman and mother to have an officer of the law snooping. She’s all good intentions. Just that… he’s a psychopath, guilty of so, so many things.
And now this ratchets up the tension between mother and son. He doesn’t even tell her about her former husband and the escape. Knowing deep down that Romero is on the way to their home.
Norma: “So I shouldve just let Jim Blackwell kill you?”
Norman: “Maybe
Norma: “Thats depressing


The more he and mother fight, the further Norman drifts towards Madeleine Loomis (Isabelle McNally). He actually brings her some of mother’s dresses in an unnerving gesture; scary because he not only has interest in Madeleine, she looks similar to Norma and that’s what propels his desire most of all. There’s a great, sly little Psycho reference when she brings out his shower curtains, remarking that he must go through a lot of those; he casually replies that “Yes, yes. We do actually.” Can’t help believe that’s a nod to Hitchcock and the infamous shower scene, as Janet Leigh and the curtains alike were slashed apart.
Later on at home Norman has a talk with Chick. He doesn’t want him around the house so much. Chick feels a bit betrayed, by how much he’s done for them. Not so smart for Norman to turn his back on a guy who’s seen all the secrets. I see this having serious repercussions.
Romero makes a fake ambulance call outside an apartment building. When the EMTS arrive prepared for an overdose, he slips into the rig and gets himself a few necessities to treat his wounds. Then he does a bit of homemade surgery on the buck shot in his gut. Enough to keep him alive, anyways.
When Sheriff Greene snoops around more at the motel Norman starts putting his foot in his mouth. While he covers his ass, he doesn’t do it very well. Her suspicion is official at this point. Stupid Norman! Should’ve let mother do the talking. Except she’s a bit irrational herself. She hid Blackwell’s car in the woods after killing him. And the sheriff is searching for that very vehicle. Norman wants to be rid of it totally, and Norma insists it was wiped clean, et cetera.
So… what to do, what to do?


They argue. Norman almost kills mother. Things are not good inside this insane young man’s mind. Fractured into pieces is an understatement. Regardless, they decide on leaving the car and heading home for the night. One of the creepier scenes so far this season, just a strange, atmospheric tension, and the way it’s shot makes the moment all the more unsettling.
Those dresses belonging to mother fit Madeleine perfectly. This excites Norman, quite a bit. Or makes him happy. Or makes him want to bang his mom; who knows?! Still this precipitates a dinner between Madeleine and Norman. I wonder if it’ll get romantic. Possibly murderous, if things don’t go the way mother would want.
Chick gets a visit from Norman at his trailer. The kid wants advice, on hot wiring a car. He wants to get rid of that car in the woods. But Chick knows something’s up: “What did you do?” He’ll help, only if Norman tells him the truth. He gets it. Not the full truth: the truth about mother.
At the house, Norman tells Norma about his dinner with Madeleine. She’s not thrilled. Yet off he goes, no matter. When he shows up at her place she’s wearing one of mother’s dresses. Good lord! This is getting scarier with every passing scene. What particularly gets me is that in Hitchcock’s Psycho, Sam Loomis (played in the series by Austin Nichols) is a divorced hardware store owner. Will the history be rewritten to make Sam a widowed man instead of divorce? I worry poor Madeleine’s not long for this world.
Pic 7Madeleine and Norman make cake together, listening to Daniel Johnston’s “True Love Will Find You in the End” and falling into each other’s arms. Suddenly, mother shows up. Norman has a vision of cutting Madeleine’s throat, or of mother doing it; the blood, the body on the floor. None of it actually happened, though. He runs home. He can’t find Norma anywhere. He finds only the remnants of a man living alone.
Is this an acceptance of his psychosis? No, it’s only a deepening sense of it coming on stronger and stronger. Mother’s will is becoming terrifyingly merged with that of Norman’s, and this means nothing but more bloodshed.
Pic 8A great, great episode that had me on the edge of my seat near the end! Loving this season. Such a fascinating way to go out, plus lots of awesome adapted writing coming out of what Bloch and Hitchcock each did. Excited for more.

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I'm a B.A.H. graduate & a Master's student with a concentration in pre-19th century literature. Although I've studied everything from Medieval literature onward, spent an extensive time studying post-modern works. I completed my Honours thesis on John Milton's Paradise Lost and the communal aspects of its conception, writing, as well as its later printing and publication. I'm starting my Master's program doing a Creative Thesis option aside from the coursework. This Thesis will eventually become my debut novel. I get to work with Newfoundland author Lisa Moore, one of the writers in residence at MUN. I am also a writer and a freelance editor. My stories "Funeral" and "Sight of a Lost Shore" are available in The Cuffer Anthologies Vol. VI & VII. Stories to be printed soon are "Night and Fog", and "The Book of the Black Moon" from Centum Press (both printed in 2016) and "Skin" from Science Fiction Reader. Another Centum Press anthology will contain my story "In the Eye of the Storm" to be printed in 2017. Newfoundland author Earl B. Pilgrim's latest novel The Adventures of Ernest Doane Volume I was edited by me, too. Aside from that I have a short screenplay titled "New Woman" that's going into production during 2017. Meanwhile, I'm writing more screenplays, working on editing a couple novels I've finished, and running this website/writing all of its content. I also write for Film Inquiry frequently. Please contact me at u39cjhn@mun.ca or hit me up on Twitter (@fathergore) if you want to chat, collaborate, or have any questions for me. I'm also on Facebook at www.facebook.com/fathersonholygore. Cheers!

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