Bates Motel: Season One

I'm kind of curious about some of the one star reviews here that rate it low based on the "violence and murder." What did these reviewers expect from show based on "Psycho?" A sweet tale about a boy and his mom? I mwan come on! These people should have known what they were getting themselves into right from the beginning. It's based on the most classic of classic horror films!Anyway.I'll admit, I was wary of this one when I saw the very first promo for it online. You don't mess with classics, and by all accounts, Hitchcock's "Psycho" is about as classic as it gets. Even more concerning was the apparent modernization of the tale. But the more I saw, the more intrigued I became. There was something about that creepy little smile of Freddie Highmore's that made me deeply curious.I have to say, the first episode hooked me. Highmore plays young Norman Bates and his quirks with a creepy subtlety that pays homage Anthony Perkins performance in the original. He's humble, naïve, polite and mild mannered yet you can see that budding psychotic fighting to come through pretty early on. It's in no way overdone, and Norman is completely unaware of this other self. Yet you can sympathize with the kid. He's socially awkward and sometimes blunt and inappropriate, but even then, you can't hate him. Maybe it's knowing what he becomes that makes it sympathetic, knowing that this smart (mostly) nice kid has such a fate in store for him. Maybe it's just Highmore's portrayal of him, or a little of both. Either way, his journey into psychosis is a nuanced slow burn rather than an outright explosion. You can see it building slowly alongside the building tension from episode to episode, a little at a time.Special mention goes to Vera Farmiga as Norma Bates, who is just phenomenal in this role. At times, her reactions are those of a normal but overwhelmed single mom. Other times, she goes completely off the deep end. Sometimes, she's strong and in control, sometimes she cracks and becomes completely helpless. One minute, she's nurturing, loving and every bit the `good' mother. The next, she's selfish, childish and manipulative. The thing is you're never sure which Norma it will be. You also can't be sure if she's telling the truth. Sometimes she delivers lies with convincing ease and other times is the worst liar in the world, telegraphing her guilt like a neon sign.On the surface her relationship with Norman seems based on a genuinely close bond between mother and son, but it quickly becomes apparent that it's an unhealthy and sometimes uncomfortable one. Norma wants Norman to be her friend so badly, she smothers him and becomes jealous of time spent with anyone other than her. Any time Norman makes a bid for freedom, she lays the guilt on like an over dramatic 13 year old girl with a case of the "don't mind me, I'll just lay here and die," blues. Norma seems incapable of making the right decision and winds up digging a hole so deep she would be better off burying herself in it. Of course, she can't take ownership for any of these decisions and lays the blame anywhere she can, including on Norman.On some level, Norma knows that there's something wrong with Norman. She knows that sometimes he's not himself, but she will do ANYTHING to protect him. And I mean anything. I won't give too much away here, but this is a woman who is quick to judge others but is often guilty of the things she accuses them of. But she's not entirely unsympathetic. It's pretty clear she's unbalanced, had a troubled childhood, has recently lost her husband (who may have been abusive) and is trying hard to start over. Not to mention, the events of the first episode are, in short, horrific. But, just when you start to feel bad for her, she does something creepy, inappropriate or just plain stupid and you hate her again.Then, there's the addition of an older brother named Dylan. He seems to be the only person in the family who isn't suffering from mental illness. True, it doesn't seems like he can keep a job and he has a chip on his shoulder, but in all respects, there's nothing really worrisome about him. That is, other than his new job and a bad choice midseason that he shows no remorse for and apparently there are no consequences for. He's definitely not innocent. Still, he's only one who seems to acknowledge (at least to himself) there's something wrong with Norman. He's openly critical of the unnatural closeness between mom and brother, and at first it seems like jealousy. But then it becomes apparent that it's out of genuine concern for his little brother.Personally, Dylan's a bit bland for me. It's not that the acting, writing or story line is bland, it's just that it almost seems like he was created to move some sub plots along and to enrich the family dynamic. The jury's still out because he has potential if they can figure out where they're going with him. There are shades of corruption in him, but also shades of morality.The true moral compass in this story comes in the form of Emma, a girl with cystic fibrosis and Norman's only friend. Emma may be the only innocent one in this series, as it seems the rest of the town is just as shady, twisted and crazy as the Bates family. She genuinely likes him and sometimes overlooks his bluntness and occasional outburst because her innocence prevents it, and perhaps because she has feelings for him. She's honest and kind and outspoken about injustice. Unfortunately, her actions may directly impact Norman and his slow descent into psychosis.Emma's the only character I truly fear for in this entire series. As corrupt as everyone else is, if they get their due, it's probably fitting. Those that have perished so far `had it coming.' And we know the fate of Norma and Norman Bates, don't we? I hope that Emma's innocence will be what saves her, but I fear that maybe it won't. We shall see, no?(Spoilers Ahead!)There are some fun references in this that relate back to "Psycho," and one or two other Hitchcock "easter eggs," such as a reference to "The Birds." We also learn where Norman learned about Taxidermy. Then, there's the scene where Norman speaks using his mother's voice. Holy Bejebus. I got chills. He replicates word for word something his mother said earlier in the evening about a girl he likes. The delivery and tone were spot on and absolutely chilling.Some people have criticized the sex slave story line, but I kind of get it. In the beginning of this story line, the images in the book Norman finds clearly have a huge impact on him. There's an emphasis on the drawings of the shower to tip you off. Not to mention, this story line drives a lot of the events that happen in the series. I can't wait for season 2 to find out how much crazy is still in store for us. And I really hope that "Bates Motel" doesn't go the way of so many really great shows that had great first seasons and fell apart in the second (Heroes comes to mind).Fans of the original movie may hate this for various reasons, but speaking as a fan of "Psycho" (since childhood, as a matter of fact - I bad parents who let me watch whatever I wanted) I love it. Sure, it's not 100% canon compliant, but I expected that. So long as you don't go into it with a purist attitude, I don't think you'll be disappointed.

I was born after Alfred Hitchcock's "Psycho" hit the theaters, so I missed all the hype and promotional gimmicks, such as "No one will be admitted to the theater after the film has begun" and "Don't give away the ending" and the dramatic and traumatic trailers. When I saw the film for the first time, I had no idea that Janet Leigh was a huge star and how it was a Hollywood no-no to kill off the major star during the first reel. However, I did know the big revelation at the end before I saw the picture.Still, the movie was spell-binding. The photography, the movement of the camera, the lighting, and especially the use of shadows gave the film a very creepy atmosphere of inescapable isolation. Combining that with subtle sound effects and a hair-raising score, the film became the perfect setting in which to tell a bone-chilling story using interesting characters. All that was needed was a great script and great actors to play the characters.Based on the novel by Robert Bloch who was inspired by Wisconsin murderer Ed Gain, the screenplay's adaptation went to Joseph Stefano, who later helped develop the "Outer Limits" series. Stefano fleshed out the characters as best he could given the rather limiting format of a script. Hitchcock, who directed the film, added even more dimension to each character by envisioning every nuance and manner each would possess.Hitchcock's casting was brilliant. He was very exacting and gave actors very little elbow room when it came to straying from his very precise direction. But his actors were strong enough and talented enough to allow their characters to come across as "real people," rather than as robots programmed to speak and move according to Hitchcock's instructions. This resulted in performances that were both ordinary, yet bigger than life. Every character had his or her own distinct personality that leaped off the screen and we couldn't help but to connect with them.The set and the mood of the original "Psycho" are characters in and of themselves. The makers of "Bates Motel" have managed to recreate the same discomfiting, just-beneath-the surface eeriness of Hitchcock's classic. Hitchcock's original blueprints were used to build the exterior and interior sets for the series, so the Bates house and motel are exact replicas of the original. The Bates' property is the binding tie that holds the entire cinematic experience together.We quickly learn, however, that the sense of foreboding we feel while at the Bates house and hotel actually pervades the entire town, both in its locales and in its residents. Everybody and everything is a little "off" somehow. Nothing is as it seems. You get the sense that whatever appears normal will suddenly reveal itself as perverse or corrupt.The same can be said about young Norman's relationship with his mother, Norma. It is at once a perfectly normal relationship between mother and son, but we sense, simmering just beneath the surface, it is a relationship fraught with inappropriate and perverse feelings. Norma, who refers to Norman as the only real friend she has, seems oblivious of the effect that her doting and protective mothering is having on Norman. Norman appears to have a type of dissociative identity disorder and enters moments of fugue when he becomes upset. Norma, who is aware of Norman's strange affliction, but doesn't quite comprehend it, tries her best, as a mother would, to be gentle, supportive and understanding when Norman has these episodes. He is also fiercely protective over his mother essentially because of her kindness toward him.We enter the story of the Bates at this point because Norman is presently at the age when he is beginning to like girls. He is at the age of sexual awakening. He becomes sexually aroused easily and, in several instances, when it wouldn't be viewed as appropriate. As a result, Norman becomes deeply conflicted, guilt-ridden and confused by his burgeoning sexuality.The core of the series is the fascinating, yet disturbing, growth of the relationship between Norman and his mother. Most people who are familiar with the movie "Psycho" knows how the relationship between "Mother" and son is resolved in the end. In the meantime, taking place around the heart of the story are the extraordinary and shocking events that happen in the motel, in the city and at Norman's school.The cast is first-rate. The beautiful and talented Vera Farmiga plays "Norma" and her performance deserves an Emmy. The young man who plays "Norman" is fascinating in the part because he is able to express such a range of seemingly disconnected emotions, transitioning smoothly from affable, to neurotic, to downright terrifying.The rest of the cast of characters is rounded out by The Sheriff who is stoic on the outside, but whose mind is racing at a mad speed; Norman's half-brother, who appears to be the only sane character among the lot, is terrific; Norman's best friend and fellow school mate is a wonderful and attractive actress; and, finally, there is the actress who plays the girl of Norman's dreams, another lovely and attractive young actress.Each of the 10 episodes in Season 1 are shot in 16:9 HD color and are approximately 45 minutes in length.

Well done, I am really pleased with my purchase and with the seller shipper and Amazon. The Disc is awesome .

Article arrivé bien avant la date prévue, et comme je souhaitais l'offrir pour Noël, c'était parfait !!

serie tv davvero imperdibile sul rapporto morboso madre-figlio e sullo sviluppo deviato del giovane Normanda vedere tutta di un fiatoservizio amazon ottimo, economico e veloce

I need to mention for starters that I never saw Psycho, so for a relevant comparison or thesis on that iconic film and its prequel you need not read on, otherwise it might be refreshing to read some unbiased thoughts on Bates Motel. The first two of the ten-episode series are something of an interlude, trying to find the right pace, but then the race is on. The colour scheme is dominated by brilliantly photographed greens and greys, befitting the mood. The suspense - the unavoidable entering of sparsely lit basements and climbing spooky staircases etc. never becomes genuinely frightening, it stays a character-driven show.From the start it is clear that the relationship of mother Norma, a blond looker in her early 40's and her introverted seventeen-year old son Norman is not ideal. The smothering kind of not ideal. Episode one opens with Norman's discovering his father lying dead in the garage. Norma, acting on impulse -one of her trademark characteristics - decides to move her two-member household to White Pine Bay where she has bought the titular property, planning to run it with no prior experience. A mistake with gruesome consequences, for the little community -thriving on a certain herbal substance, and it's not tea - doesn't take kindly to strangers. Soon mother and son find themselves firmly entrenched in a web threaded with horror.I have heard or read some found no development in the relationship between Norma and Norman - I agree, would go even as far at deeming it stagnant, but this is precisely what makes the dynamics between them as a team and outsiders interesting. The first 'intruder' happens to be the one character showing true development: Dylan. He is Norma's other son, Norman's neglected older half-brother who shows up on the motel's doorstep in episode two. Norma, who hasn't even bothered to inform Dylan about moving or providing an address, reluctantly (re)admits him to her house - albeit it temporarily. Dylan obviously had to grow up fast and didn't steer clear of the wrong side of the tracks in the process. He is also clever and sensitive. Dylan helps Norman to read girl-signals (those of the calculating Bradley), using his brother's hormones as a window to get closer, for the possessive Norma is not one to welcome the growing sexual needs of her youngest. So the development is Dylan's, as he slowly warms to his brother - and his mother. After Norma confides the horrible truth about the schizophrenic Norman to him Dylan could and probably should run. He finds himself caring instead, from hesitating in his growing crush on Bradley for his brother's sake to defending his family to the point of getting injured. Nowhere does this become a triangle relationship, but the dynamics of when and where the 'Norm's block' let Dylan in is strong enough to carry the show.Another interesting relation is that of Norma and sheriff Alex Romero. She, used to manipulate the men around her, fails to dig her nails into him. Similar to Grimm's Captain Renard, he is a layered small town king - though by the end of series one his aims seem to be personal gain rather than benefitting a larger scheme. Norma is played by Vera Farmiga. She is fascinating, for never before have I seen such a relentlessly unsympathetic creature taking up so much screen time without wanting to stop watching. Even during moments you should feel for her your gut tells you she is manipulating. Freddie Highmore as Norman also delivers. You feel for him and his isolated inner life, and yet ... would you want to put an arm round him? Feel those shoulders tense? It's hard to play endearing, but harder to play endearing with a slightly repulsive edge. The ran-over and then stuffed dog is a case in point. Then there is Max Thieriot, giving a stellar performance as Dylan. Thieriot acts his lines, but even more so the unspoken text between them. The gorgeous Olivia Cook is heart-wrenching as Emma, and LOST's Nestor Carbonell an icy sheriff. I adored Mike Vogel too, but perhaps for reasons irrelevant here - he could have spiced up his corrupt character Shelby more.Other weak points I found in otherwise strong scripting: the denouement after episode six, having everything coming after it as something like series 1 1/2, and much earlier the apparent ease with which the popular school girls invite Norman to join them, while ultimately deeming him not good enough. The subtle music is there and not there, which is befitting the gloomy atmosphere. Sound and picture are as one would expect from a product of, erm, this age and lifetime. Bring on season two!

Ich muss vorausschicken, dass ich seit nunmehr 27 Jahren großer Fan der „Psycho“ – Filmreihe bin.Manch einer mag rummäkeln, dass sich die Filme nur sehr vage an den Romanen orientieren. Doch genau dieser Umstand, eben das diese Filme mit den Büchern von Robert Bloch nicht mehr viel gemein haben, sondern jene lediglich als Inspiration für etwas völlig Eigenständiges nutzen, kommt zumindest mir sehr entgegen. Für mein persönliches Empfinden taugen Blochs literarische Vorlagen nicht viel, ich habe da schon weitaus besseres gelesen. Hitchcock ging es da wohl, wie man in Dokus hört, recht ähnlich, daher hat er „Psycho“ kurzerhand zu etwas ganz eigenem gemacht. Zu einem – aus damaliger Sicht – perfektem Meisterwerk, einer Sinfonie des subtilen Grauens. Und letztlich zu seinem – rückblickend – besten Film (Nein, der allerorts so hochgelobte und gefeierte „Vertigo“ ist nicht wirklich besser. Der Meister selbst betrachtete „Psycho“ bis zu seinem Lebensende – völlig zu recht – als seine unvergänglichste Leistung). Tatsächlich wirken Hitchcocks Filme heute ganz objektiv betrachtet – von ihrer Machart und Art der Darstellung sehr antiquiert und angestaubt. Ganz ehrlich, nach dem was man als Zuschauer heutzutage an Spannungsfilmen (und ich meine jetzt nicht dumme Gewaltorgien und Folterpornos a 'la „Saw“) und hochspannenden TV-Serien serviert bekommt, wirken die Hitchcock Filme sogar spannungsarm, gezogen und langweilig. Verstehen Sie mich richtig, ich verehre Hitchcock, weil er quasi ein eigenes Genre erschaffen hat, weil er viele wunderbare Thriller und Serien überhaupt erst möglich gemacht hat („Carpenters „Halloween“, „Das Schweigen der Lämmer“, „Dexter“, etc.). Doch heute gefallen dem „modernen“ Zuschauer vermutlich allenfalls noch seine Werke wie „Die Vögel“, „Frenzy“ und eben „Psycho“ (falls man vom Schwarzweiß nicht abgeschreckt wird). Letzterer lebt nicht nur von dem berühmten und unendlich oft zitierten Duschmord, sondern – und das vergisst man oft – vor allem von Anthony Perkins superber Darstellung des schüchternen, doch hochgefährlichen Muttersöhnchens „Norman Bates“. Für Perkins wurde dieser Charakter zur Rolle seines Lebens, die Figur „Norman Bates“ zu einem der mit Abstand berühmtesten und kultigsten Serienkiller der Filmgeschichte und der Film selbst zum Ahnherr eines ganzen Genres. Sowohl das Subgenre des Serienkiller – als auch das des Slasher-Films hat in ihm seine Wurzeln. Perkins konnte sich jedoch nie mehr von der Assoziation des Publikums mit seiner Rolle lösen, weshalb er fortan auf eigenbrötlerische, zwielichtige, düstere Charaktere festgelegt war. Weshalb also nicht die Not zur Tugend machen und erneut die Rolle seines Lebens spielen? Und das noch drei weitere Male. Die erste, 22 Jahre später spielende, Thriller-Fortsetzung „Psycho 2“ (1982) konnte angesichts der im Vorfeld geäußerten Befürchtungen, die man angesichts des zu erwartenden „Sakrilegs“ hatte, mehr als überzeugen. Natürlich ist dieses Sequel nicht so wegweisend wie das Original, dennoch bietet es gute bis hervorragende Darstellungen ( Perkins spielt hier sogar noch ein ganzes Stück weit besser als im ersten Teil), führt die Handlung konsequent und nachvollziehbar fort und ist, was die Spannungsmomente und Atmosphäre betrifft, meines Erachtens (ich weiß, „Psycho“ - Puristen werden mich jetzt lynchen) weitaus gelungener. Eine wirklich unerwartet gelungene Fortsetzung, die das „Psycho“ -Universum erheblich bereichert. Man merkt diesem zweiten Teil natürlich an, dass er ein Kind seiner Zeit ist und es zwischenzeitlich Filme wie „Halloween“, „Freitag, der 13“ oder „Texas Chainsaw“ gegeben hat, was vor allem in den Tötungsszenen deutlich wird. Weniger dem Thriller, als vielmehr dem Slashergenre verhaftet ist hingegen „Psycho 3“ ( 1986), bei dem Anthony Perkins nicht nur erneut die Hauptrolle, sondern ebenfalls die Regie übernahm ( Dies war ein Anreiz um Perkins erneut zur Übernahme des Charakters zu überreden). Waren die ersten beiden Teile Psychothriller, so war Teil 3 ein lupenreiner Horrorfilm, der nicht im mindesten die Finesse der ersten beiden Teile aufweist, dafür aber weitaus selbstironischer, härter (wenn man's mag) und sarkastischer ist. Zudem gibt es viele Anspielungen auf Hitchcocks weiteres Werk, so zitiert allein die knallige Anfangssequenz die berühmte „Vertigo“ - Szene. Perkins gibt den Norman Bates ein weiteres Mal grandios, legt ihm aber sehr zynische, hochironische Onliner in den Mund, was wohl ebenfalls ein Tribut an die Filme jener Zeit ist. „Psycho 3“ ist kein Meisterwerk und er bedient ein fast völlig anderes Publikum als seine Vorgänger. Dennoch weiß er zu unterhalten und ist für sich gesehen ein guter Film, der Spaß macht und mit einem toll aufgelegten Anthony Perkins punkten kann. Ein Jahr später versuchte man mit dem Fernsehfilm „Bates Motel“ (1987) erstmals eine TV-Serie (offenbar für Kinder im Stile einer Art jugendfreien Version von „Tales of the Crypt“) zu etablieren, was aber gründlich in die Hose ging. (Die Figur „Norman Bates“ hat nur einen winzigen Kurzauftritt (und wird nicht von Anthony Perkins verkörpert, der sich für diesen Müll verständlicherweise zu schade war) und stirbt auch am Anfang der Handlung.) Die geplante Serie wurde gottlob nie realisiert. Perkins kehrte erst vier Jahre später mit „Psycho 4 – The Beginnig“(1990)zurück , der rückblickend nicht nur stark die heutige TV-Serie „Bates Motel“ (2013) vorwegnimmt, sondern auch Anthony Perkins zum letzten mal in seiner Meisterrolle zeigt (Perkins verstarb 1992 an Aids). Der Film – nach einem Originaldrehbuch von Joseph Stefano (Drehbuchautor des legendären ersten Teils) zeigt Perkins selbst, der zu diesem Zeitpunkt bereits gesundheitlich sehr angeschlagen war, nur in einer Rahmenhandlung (er ist etwa in einem Drittel des Filmes zu sehen), die anderen zwei Drittel trägt der junge Henry Thomas ( ja, der Junge aus „E.T.“) in Rückblenden als junger Norman Bates. Dieser vierte – diesmal für das Tv produzierte - Teil stellt zwar auch kein Meisterwerk dar, dafür aber einen höchst interessanten Abschluss dieser Filmreihe. Besonders im Hinblick auf einen direkten Vergleich mit der aktuellen „Bates Motel“ (2013 - ) Serie. Auch wenn der vierte Teil zugleich der unbekannteste ist oder meist ignoriert wird, lohnt er sich auf jeden Fall dennoch zu schauen. Die Darsteller sind gut (allen voran Perkins, auch wenn er wenig Screentime hat / Henry Thomas ist gut, aber kein Vergleich zum späteren Rollennachfolger Freddie Highmore), die Story weiß zu unterhalten, bietet mitunter wirklich gelungene Szenen und ist zumindest weitaus besser, als sein Ruf.Ein fest geplanter 5 Teil kam nicht mehr zustande, da Perkins zuvor leider seiner Krankheit erlag.Gus van Sant wagte 1998 ein Remake des ersten Teils in Farbe. Der Film war fast Einstellung für Einstellung derselbe wie der von Hitchcock , eine 1:1 Kopie also (abgesehen von zwei winzigen Änderungen) – bloß eben in Farbe und mit weitaus schlechteren Schauspielern. Den absolut talentfreien Vince Vaughn als Norman Bates zu besetzen war in etwa so, als würde man zwecks einer Neuverfilmung von „Der Pate“ den Part des Don Corleone mit Till Schweiger besetzen. Zudem macht ein Remake keinen Sinn, das dem Zuschauer nichts neues bietet, sondern einfach das – Bild für Bild – nochmal abspult, was er bereits schon kennt. Mehr Sinn hätte es da fast gemacht das Original einfach aufwändig zu colorieren (für alle, die es partout in Farbe sehen möchten). Das Remake floppte daher völlig gerechtfertigt.Somit galt die Psycho – Reihe die letzten 15 Jahre als beendet und geriet beinahe ein wenig in Vergessenheit, bis vor einem Jahr (2013) die TV-Serie „Bates Motel“ den Norman Bates – Mythos auf geradezu kongeniale Weise wieder zum Leben erweckte. Diese Serie stellt nicht nur eine gelungene Verbeugung vor Hitchcocks Original dar, sie schafft es sogar sich ein Stück weit selbstbewußt von diesem loszueisen und ein dynamisches Eigenleben zu entwickeln. „Bates Motel“ ist eine ganz hervorragende Thrillerserie geworden, die in Punkto Spannung und Darstellungskunst mit der berühmten Filmserie locker mithalten kann. Einige Zuschauer werfen der Serie vor, dass sie anachronistisch sei in Bezug zu den Filmen. Und dass bestimmte Handlungselemente abgeändert wurden (Norman hat jetzt z.B. einen Bruder, sein Alter zum Zeitpunkt des Todes seines Vaters sei nicht dasselbe wie im Hitchcockfilm. - Hier muss gesagt werden, dass sich diese Altersgaben bereits – wie auch einige andere Dinge - bei den Filmen von Teil zu Teil widersprechen). Aber meines Erachtens muss die Serie nicht in jedem Punkt mit der Filmreihe übereinstimmen. Wäre dies so, würden wir um viele erzähltechnische, spannende Highlights gebracht. Diese Veränderungen waren und sind notwendig, damit der Zuschauer auch weiterhin überrascht werden kann und nicht einfach das bloß lieblos serviert bekommt, dass er eh schon weiß. Darstellerisch habe ich schon lange keine so perfekte Serie mehr gesehen. Ex-Kinderstar Freddie Highmore ("Artur und die Minimoys", "Klang des Herzens", "Spiderwicks", "Wenn Träume fliegen können") spielt nicht bloß „Norman Bates“ , er ist es. Perkins selbst hätte sicher seine helle Freude gehabt an Highmores Spiel. Ein mehr als würdiger Nachfolger und weitaus facettenreicher als seinerzeit Rollenkollege Henry Thomas. Vera Farmiga als Normans Mutter ist einfach eine Klasse für sich - schlichtweg brilliant! Bis in die kleinsten Nebenrollen wurde hervorragend gecastet. Max Thieriot als Normans konträrer Bruder ist eine Figur, welche die Serie ungemein bereichert. Sein natürliches, glaubhaftes und sympathisches Spiel lässt ihn schnell zu einem der Zuschauerlieblinge werden. Interessant ist in diesem Zusammenhang auch, dass Thieriot zuvor bereits die Hauptrolle in dem Horrorthriller "House at the End of the Street" (2013) mit Jennifer Lawrence(Tribute von Panem)spielte, der letztlich nichts anderes verkörpert als ein inoffizielles Quasi-Remake von "Psycho". Und bereits dort konnte er glänzen. Mit "Bates Motel" Serie ist den Machern das schier unmögliche gelungen: Hitchcock up to Date. Große Unterhaltung, die Spaß macht – nicht nur „Psycho“ – Fans. Und Staffel 2, von der ich im Ausland bereits einige Folgen sehen konnte, wird noch besser. Ich hoffe bloß, dass die Serie sich nicht über zuviele Staffeln streckt, denn a) gibt das letztlich die Handlung nicht her und b) wird es dann sehr schwer Glaubwürdigkeit und Qualität aufrechtzuerhalten. Meines Erachtens müsste rein erzähltechnisch die zweite Staffel schon fast die letzte sein. Mehr als drei dürfte es jedoch aus genannten Gründen auf keinen Fall geben. Hauptsache, die Serie bekommt ein echtes Ende und wird nicht mittendrin angesetzt. Die Bild und Tonqualität der DVD lässt übrigens nicht zu wünschen übrig. Kurz: Ein Genuss in jeder Beziehung! Klare Kaufempfehlung!