A&E announced that it has picked-up a third season of Bates Motel today. It's about midway through the second season and the series seems to have really found a way to extend and expand what was, theoretically, a simple tale of young Norman Bates' descent into madness. Originally pitched as a contemporized prequel to Alfred Hitchcock's seminole film Psycho, Bates Motel has revealed itself to be not only the story of one boy's damaged relationship with his mother, but also the story of a town that acted as a mirror for the Bates' poisonous relationship and Norman's fractured mind.
The Norman Bates of Hitchcock's Psycho was all sweetness and purity on the outside, but his milk and cookies exterior hid an inner evil that even he was unaware of. The show has managed to take that idea and apply it to both Norma and Norman's relationship and the town they live in. It's all about appearances for Norma. She is a woman who is used to covering things up, avoiding them, and/or pretending they don't exist. It's how she survived her childhood and it's how she is now choosing to handle her son's illness. She deals with Norman by not dealing with Norman, by painting on a happy face until the next explosion occurs.
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