REVIEW: Bates Motel, Season 2 Episode Three 'Caleb'

 REVIEW: Bates Motel, Season 2 Episode Three 'Caleb'

Darkness is no stranger to Bates Motel. It seems an obvious statement to make for a show that is essentially the prequel to one of the most iconic horror films of all time, but it's an important one. Bates Motel is a world full of shade. This episode, however, is perhaps one of the darkest.

First, we see Emma (Olivia Cooke) inform Norman (Freddie Highmore) of the current front headline for the local newspaper, which tells of how Bradley is suspected of having committing suicide after a suicide note was found. However, we know from the previous instalment that Norman and his brother Dylan (Max Thieriot) helped smuggle Bradley out of the neighborhood after she murdered the man responsible for her Dad's death. Norman doesn't bother to fill Emma in on this detail, and so the entire episode we have Emma, who has clearly been deeply affected by her death, trying to deal with this fake loss. It's a harsh turn for the narrative to take, but it says a lot about grief, and how uncontrollable it can be. Emma, after all, speaks of how she hated Bradley - and yet she still feels this deep sadness at her apparent 'loss'.

It goes further still than that, however, as Bradley's death even inspires a beach memorial to take place, as a way for people to share their memories of this girl. This is something that creates quite a morbid sense of dramatic irony, as these people gather to say their goodbyes to someone who isn't even dead, and it fits the tone of Bates Motel to a tea. If any show is tailor made for this style of morbidity, it's this one.

After his brief appearance at the end of the previous episode, we also properly meet Norma's (Vera Farmiga) brother Caleb (Kenny Johnson), and given how he abused his sister it's unsurprising that his appearance here takes some very twisted turns. Caleb puts on such a convincing 'good guy' act that he immediately manages to convince Dylan, who has only just met Caleb and by this point suspects his mother Norma is hiding something from him about this mysterious newcomer, that he means no harm. He seems a cunning manipulator, the kind who holds all the cards on the table, and it's clear he's a man who cannot be trusted - and not just because of his past actions.

The way things develop from here-on-in are so shocking, that I am surprised both that writer Alexandra Cunningham went there and that the BBC were even happy to upload this to their catch-up service. Dylan, you see, straight up tells his own mother that he doesn't believe she was raped. It's a very extreme moment to include in a piece of broadcast television, and some may question whether it was wise, as it could prevent real life victims of rape from coming forward. The resulting fight sequence between Norman and Dylan that ends with a shock revelation is stunningly directed though, feeling quite harsh and rough with the camera work utilised for this scene.

Norma's new friend Christine (Rebecca Creskoff) returns from the previous episode, and I like the friendship which has developed here. These characters feel as though they have a natural bond, and it is nice to see Norma as a character have someone else to talk to who isn't Norman. It means we get to see a fresh perspective on the character from an outsider with no connections to Bates Motel - and you can't disagree with Christine's decision to quit the community theatre group because they refused to cast Norma in the lead part. She gave an outstanding audition for the play in the previous instalment, and was totally robbed here.

We also get a new love interest for Norman, in the form of community theatre stagehand Cody (Paloma Kwiatkowski). This pair have tons of chemistry together; they seem an ideal fit, both appearing rather odd and as though they don't quite fit within societal norms. Hopefully this is a romantic pairing that lasts, as there is potential here for a convincing romance.

Overall, 'Caleb' is quite the shocking affair for Bates Motel. It contains some frankly extreme moments that have to be seen to be believed, and a morbid feel to proceedings that make you feel for those in the show who believe Bradley to be dead. This is a show that clearly isn't afraid to push the boundaries of what can be shown on broadcast television, and it makes it somewhat surprising that the BBC agreed to upload this series onto their catch-up service.

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What are your thoughts on the third episode of Bates Motel's second season? Let me know in the comments section.