Bates Motel Recap: Episode 1.02 - Nice Town You Picked, Norma - Dread Central
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Bates Motel Recap: Episode 1.02 – Nice Town You Picked, Norma



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Bates Motel: Recap of Episode 1.02 - Nice Town You Picked, NormaIn the premiere of “Bates Motel” last week, we saw amazing performances by Vera Farmiga and Freddy Highmore, who did a fantastic job channeling a young Anthony Perkins. Now that the plot had been set up, we can learn more about the town and Norma’s other son.

SPOILER ALERT: Do not read any further if you haven’t watched the episode yet. This is a recap with specific details from this episode. Continue only if you have already watched it.

Norman was fascinated by the little picture book he found last week while cleaning and obsessed over some of the bondage pictures. When the doorbell rang, he was awakened from his trance and hid the book. Norma ran down the stairs to open the door and was shocked to see the surprise visitor: her other son, Dylan.

Norman asked Norma how long Dylan was staying but she shrugged it off. Dylan walked in during Norma making breakfast and the family dynamics were definitely off. When Norma asked why Dylan was there, he replied that he lost his job and wanted to go home like normal people, unlike Norma, who hid her new location from Dylan.

When Norman got to the bus stop outside the hotel, the popular girls were there. Bradley asked why Norman left the party early the other night. She even asked Norman to study together and for real this time. Before he could answer, a car screeched past them and crashed into a ditch near them. They pried the door open and saw Bradley’s dad in the driver’s seat all burned up.

While a tow-truck worked on the car, Sheriff Alex Romero briefed Norma on Bradley’s dad, who owned a warehouse up the road. Someone set the warehouse on fire with him inside. Dylan walked up to his mom and remarked on the strange town they now lived in. She scolded him for calling her Norma and gave him work to do.

Sheriff Romero directed Norma to a side street. Keith Summers’ truck was parked there. (He was the previous owner; we know what happened to him from last week!) Norma kept her cool but the sheriff was a little suspicious.

In class, Emma imposed herself as Norman’s partner for the assignment and invited herself to the motel to work.

At the hospital, Norman brought a flowering plant to Bradley. She saw him but he was intercepted by Richard, who disdainfully stopped Norman from giving the plant directly to Bradley.

At a strip club, Dylan tried to enjoy the show but the patron next to him was crying. The patron lamented about his boss being in the accident from earlier. When he pulled out his stash of cash to pay, Dylan got interested.

Returning to the motel with his assignment, Norma was waiting. She scolded him for coming home late. She wanted to build a life there with Norman and would not let Dylan screw up her plans. Turned out that Dylan and Norman had different fathers and even Dylan noticed the slightly inappropriate closeness between Norma and Norman.

Bates Motel: Recap of Episode 1.02 - Nice Town You Picked, Norma - Norma

Dylan questioned Norma how she got the money for the motel. When she explained about the insurance policy, Dylan was not fully convinced.

Another doorbell rang while Norma and Norman were cleaning the kitchen. Emma arrived to work with Norman on their homework project. Norma immediately quizzed Emma on her life story despite Dylan trying to distract her. When Norma found out Emma’s life expectancy from cystic fibrosis was only until 27, she became at ease and even suggested Norman and Emma do their homework upstairs.

Emma and Norman worked on their poem homework in his room when their discussion topic evolved to contemporary murders. Emma found Norman’s little picture book. She was not disturbed by the pictures as she had read steamier manga and even borrowed it.

While Norma was getting ready for bed, another doorbell rang. If Bates Motel gets this much business, the Bates would be rich! Sheriff Romero and Deputy Shelby were at the door. They were asking her about Keith Summers and Norma slipped up during the questioning. She got a little flustered but refused to let them in without a search warrant. Did Norma just flirt with Deputy Shelby right there?

Driving through town, Norma stopped next to Deputy Shelby and joked about being arrested. Deputy Shelby asked her for coffee instead. At coffee, as they flirted, we got to learn more about the sheriff’s relationship with Keith Summers. The charming deputy even managed to arrange a “date” at the town festival that night.

A giddy Norma showed off to Norman what she was wearing for her evening “date”. Norma explained that she was buttering up the deputy as goodwill. Norman was amused. Then Norma undressed and tried on another top right there in front of Norman. When he looked a little uncomfortable, she shrugged it off. Even after she turned around, he continued watching her change.

When Norman expressed his concern and wanting to go with her, she quickly convinced him that her visit with the deputy wouldn’t mean anything.

At a boat building warehouse, Dylan was introduced by the strip club patron to a man named Gil, who promptly asked if Dylan knew how to use a gun.

Heating up dinner in the kitchen, Dylan’s cellphone rang and Norman cracked a joke about “The Whore” calling. Norman got visibly angry when he learned that was Norma and tried to fight Dylan. Dylan subdued Norman easily and quickly but Norman’s anger festered. He grabbed a meat tenderizer and tried to hit Dylan but missed. Dylan knocked Norman down and left. “She’s not a whore,” Norman sobbed angrily.

At the Woodchuck festival, Norma meet up with Deputy Shelby and he told us more about Keith Summers. When Norma brought up the weird things that are happening in town, the deputy offered more insights about the townspeople, who seem to be richer than they should be. Looks like the deputy may be in on town’s strangeness as well.

Bates Motel: Recap of Episode 1.02 - Nice Town You Picked, Norma - Norma & Dylan

Norma came home and found Norman with his bruises from earlier. Norma now wanted Dylan to leave and Norman agreed. After Norma left, Norman got a text message from Emma to meet at her store.

At the store, Norman found Emma working at the computer. Norman got fascinated by the taxidermy in the store. Emma’s dad was the best taxidermist in town. Sounds like someone’s gonna get an apprenticeship soon?

Emma was able to translate the picture book and learned the story of four girls from China who were forced to be sex slaves. One of them died and was buried nearby. So Emma wanted to go find the grave to prove the story and then planted a kiss on Norman. Norman was a little flustered but was pleased.

Related Story: “>All Bates Motel coverage

In the living room, Dylan was wistfully looking at happy pictures of Norma and Norman when she came downstairs. She told Dylan to leave in the morning. He then confronted Norma about Sam’s death and how he had to talk to insurance people to find her. He suggested that maybe he should tell the insurance people the true nature of her relationship with Sam. She got quiet. Dylan just continued drinking alone sadly.

Emma and Norma trek through the woods following the picture book. After stopping for Emma to catch her breath, they came up to a field of pot plants. They ran off when the guards saw them and they came across the shed from the picture book. Luckily they managed to escape.

Driving through town, Norma saw the burning body of a man hung upside down in the town square. What has she gotten them into by coming to this town?

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Basket Case Blu-ray Review – Find Out What’s In Arrow’s Basket On This Definitive Release



Starring Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner, Lloyd Pace

Directed by Frank Henenlotter

Distributed by Arrow Video

Director Frank Henenlotter doesn’t boast a lengthy filmography but he is the rare director whose work is instantly recognizable and nearly every one of his pictures is a veritable cult classic. His decision to reject the studio system in favor of remaining in the dingy alleyways of independent cinema may have something to do with that limited output, but the films he has delivered are wildly original and patently weird – and it all began with a freak in a basket. Even Henenlotter must be astounded that he went from maximizing a $35,000 budget to film his debut, Basket Case (1982), to thirty-something years later seeing it lovingly restored in 4K by the Museum of Modern Art (and, boy, what a job they have done). Henenlotter’s films are pitch black comedic Cronenberg, taking body horror into the gutter and always ensuring his audience festers down there with it.

Duane Bradley (Kevin VanHentenryck) is an affable guy with boyish charm who has just arrived on the seedy streets of New York City with a wad of cash and a large wicker basket. His friendly nature and apparent naiveté belie the fact he has come to the city with a singular purpose – one with deadly intentions. Duane checks into a shitty room at Hotel Broslin and gets to work on his first task: tracking down a Dr. Needleman (Lloyd Pace). He succeeds and quickly heads downtown to meet the doctor, at first offering up his real name before deciding to use a pseudonym (Duane isn’t terribly bright). After blowing the doc’s mind with his body-length scar, Duane returns later that night, basket in tow, to pay the old “family friend” a visit and to answer the question on everyone’s lips: “What’s in the basket?”

The answer is Belial, Duane’s detached and deformed Siamese twin. Belial may be no larger than a basketball with T-Rex arms but what he lacks in stature he makes up for with brute physical strength and a savage bloodlust. Dr. Needleman is quickly torn to pieces and the duo begins to hunt down their next target. You see, Duane and Belial had a strong connection when they were younger and attached, one that included a psychic link that only Belial is now able to control, but after their father demanded an ad hoc team of doctors forcibly separate the two they’ve made it their mission to kill everyone involved in the surgery. Duane is committed to helping his brother complete their task, but he’s also trying to live a normal life – something Belial doesn’t understand. When Duane meets Sharon (Terri Susan Smith), suddenly his dynamic with Belial begins to shift, and when Belial gets angry it usually means one thing: someone is going to die.

Rex Reed famously called Basket Case “the sickest movie ever made!” and although sicker pictures had been produced before this (clearly Rex never ventured into Italian cannibal territory) he isn’t too far off the mark. It isn’t just about the buckets of blood Henenlotter spills here but the locations, too. Viewers will feel like a freshly steamed street vendor hot dog that’s been dropped into the gutter and kicked around for 90 minutes by the time the credits begin rolling. The squalor of early ‘80s NYC permeates the screen and forces audiences into a sticky, unsavory world. Henenlotter brings viewers to the underside of his “backyard” in a cinéma vérité style reminiscent of Abel Ferrara.

But also, there is a lot of gore. And grue. The bloodletting seen here reminded me of low-budget schlock like Blood Feast, where the filmmakers try to cover up cheaply done effects using lots of little bits – intended to be flesh, bone, skin, etc. – and the result is like chunky blood red mashed potatoes. It just looks sick. Belial kills with impunity and a complete disregard for suffering, often leaving his victims mutilated beyond recognition.

Henenlotter brings Belial to life via a handful of mediums. There is a puppet, a head appliance that is able to have a physical person bring facial life to Belial, and then there is the stop-motion animation, which is always a joy to see on screen no matter how crudely it may be rendered. The craftsmanship just oozes off the screen; you can’t not love it. Nearly every scene with Belial in attack mode strains belief that this thing could do much more than gnaw at some ankles but, hey, that’s the magic of movies.

One thing that is surprising: pathos. Duane and Belial have the closest bond siblings ever could, literally attached at the hip, and the flashback sequence treats their relationship and eventual removal with a degree of respect and heartbreak that, frankly, made the film feel much more tragic. I’m not saying viewers will be moved to tears but it’s a testament to Henenlotter that in the middle of all this death and dismemberment is a touching reminder of how these two came to be killers. Basket Case doesn’t hit the insane heights of my favorite Henenlotter picture, Brain Damage, but it does offer up a bit more heart alongside so much head-ripping.

Although Basket Case has been issued on Blu-ray a couple of times, this is the debut of MoMA’s 4K restoration and, just as you might suspect, it smokes every previous release. It would be easy to forget this no-budget feature was shot on 16mm because the clean-up of dirt and debris, as well as the finessing of film grain, has left the 1.33:1 1080p picture looking immaculate. Colors appear lifelike and rich, striking new life into the glitz of Times Square and the ever-present flow of blood. Black levels are excellent; deeply dark and never hazy. Soft shots abound, inherent to the source, but many close-ups and the handful of 35mm blow-up shows included in this transfer offer up strong definition and minute details. I can’t imagine the film could or will look any better, ever – and really, it shouldn’t. Clean as this picture is, it still retains enough grit and roughness to maintain its grindhouse aesthetic.

An English LPCM 1.0 mono track delivers the audio, which is free from hissing and other deficiencies, offering a finessed and simple delivery of the lo-fi soundfield. Gus Russo’s score bounces between moody keyboard synth cues and upbeat jazzy tunes that come into play when Duane has his big date. Scoring is minimal but effective when present. Also, expect to hear lots and lots and lots of screaming. Subtitles are available in English SDH.

Two audio commentary tracks have been included; the first, an all-new track featuring Fran Henenlotter and Kevin Van Hentenryck; the second, a legacy track with Henenlotter, producer Edgar Ievins, actress Beverly Bonner, and filmmaker Scooter McRae.

“Basket Case 3 ½: An Interview with Duane Bradley” is a fun short by Henenlotter in which he and a film crew head out to meet Bradley (Van Hentenryck) and interview him about life with Belial in present day, with an appearance by his diminutive double (naturally).

“Me & the Bradley Boys” is a new interview with Kevin Van Hentenryck, reflecting back on working with Henenlotter and making a cult classic.

“A Brief Interview with director Frank Henenlotter” is a weird, goofy thing that captures the director’s sense of humor, whether he’s in it or not.

“Seeing Double: The Basket Case Twins” is a sit-down with twin actresses Florence and Maryellen Shultz, who play the nurses in the film.

“Blood, Basket and Beyond” is a new interview with co-star Beverly Bonner, who has apparently taken her character outside the film world and into theater.

“The Latvian Connection” features interviews with a few of the film’s key personnel who share a heritage.

“Belial Goes to the Drive-In” is a great new interview with legendary film critic Joe Bob Briggs, who was a key figure in helping the film gain traction upon release.

“Basket Case at MoMA” is a lengthy Q&A from the film’s 2017 premiere.

“What’s in the Basket?” is a feature-length documentary that covers all three films in the series. This was previously seen on the Second Sight U.K. trilogy set, which is still available.

“In Search of the Hotel Broslin” has Henenlotter and his guest, R.A. “The Rugged Man”, searching out the remaining locations from the film, occasionally getting shut down along the way.

“Basket Case Outtakes” is a reel of quick, cut clips along with brief text descriptions.

“The Frission of Fission” is a video essay by Travis Crawford on freaks and twins in cinema, with emphasis placed on Basket Case.

Image galleries are included for Promotional Stills, Behind the Scenes, Ephemera, Advertisements, and Home Video Releases.

A promo gallery contains trailers, a TV spot, and radio spots.

The Slash of the Knife (1972) is a mock PSA short film made by Henenlotter and starring many familiar faces from Basket Case, about the dangers of the uncircumcised in America. It is available with optional commentary by Henenlotter and Mike Bencivenga. Outtakes and an image gallery for the short are also included.

Belial’s Dream is an animated short inspired by Basket Case. A featurette, “Making Belial’s Dream” is also included.

The package also includes a booklet with writings on the film, as well as reversible cover art and a basket-themed slipcover. All in all, a stellar release from Arrow Video.

Special Features:

  • Brand new 4K restoration from the original 16mm negative by MoMA
  • High Definition Blu-ray (1080p) presentation
  • Original Uncompressed Mono Audio
  • Optional English subtitles for the deaf and hard of hearing
  • Brand new audio commentary with writer/director Frank Henenlotter and star Kevin Van Hentenryck
  • Basket Case 3-1/2: An Interview with Duane Bradley – Frank Henenlotter revisits Duane Bradley decades after the events of the original Basket Case
  • Seeing Double: The Basket Case Twins – a brand new interview with Florence and Maryellen Schultz, the twin nurses from Basket Case
  • Brand new making-of featurette containing new interviews with producer Edgar Ievins, casting person/actress Ilze Balodis, associate producer/effects artist Ugis Nigals and Belial performer Kika Nigals
  • Blood, BASKET and Beyond – a brand new interview with actress Beverly Bonner
  • Belial Goes to the Drive-In – a brand new interview with film critic Joe Bob Briggs
  • Outtakes Featurette
  • In Search of the Hotel Broslin – archive location featurette
  • Slash of the Knife (1972) – short film by Frank Henenlotter
  • Belial’s Dream (2017, 5 mins) – brand new Basket Case-inspired animated short by filmmaker Robert Morgan
  • Behind-the-scenes of Belial’s Dream
  • Trailers, TV Spots and Radio Spots
  • Extensive Still Galleries
  • Reversible sleeve featuring original and newly commissioned artwork by Sara Deck
  • FIRST PRESSING ONLY: Collector’s booklet with new writing on the film by Michael Gingold
  • Basket Case
  • Special Features


Basket Case might be a dingy and gruesome slice of subterranean cinema but this excellent release from Arrow, touting the stunning 4K restoration by MoMA and packed with hours of awesome bonus features, is the kind of treatment Criterion usually provides. Highly recommended.

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Los Angeles Readers! Win a Pair of Tickets For a Revenge/Descent/Mad Max/Aliens Marathon!



Hey Los Angeles readers! We’ve got one helluva giveaway for those of you who are into movie marathons! Starting Saturday, April 28 at 7:30pm over at the Aero Theater, there will be a four-movie marathon that will open with an advance screening of Coralie Fargeat’s Revenge which will end with a Q&A with Fargeat. After that, moviegoers can sit back and get comfortable as they get to see a 35mm print of The Descent followed by a Q&A with director Neil Marshall, the Black & Chrome edition of Mad Max: Fury Road, and finally James Cameron’s Aliens!

For three of you in the LA area (and only if you’re 17 or older), we’ve got three pairs of tickets to give away for the entire marathon! To enter, all you have to do is fill out the form below!

Jen (Matilda Lutz) is enjoying a romantic getaway with her wealthy boyfriend which is suddenly disrupted when his sleazy friends arrive for an unannounced hunting trip. Tension mounts in the house until the situation abruptly––and viciously––intensifies, culminating in a shocking act that leaves Jen left for dead. Unfortunately for her assailants, Jen survives and reemerges with a relentless, wrathful intent: revenge.

Written and directed by Coralie Fargeat and starring Matilda Lutz, Kevin Janssens, Vincent Colombe, and Guillaume Bouchède, Revenge hits theaters and VOD May 11. It will come to the horror streaming service Shudder later this year.


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Hover Poster and Trailer Fear What Flies



Fear What Flies

Syfy Films recently announced that Matt Osterman’s new film Hover from producer Travis Stevens (We Are Still Here) will be hitting theaters June 29 and VOD/Digital HD July 3.

And to celebrate today we have the film’s trailer and poster. You can check out the poster to the right and the trailer below and then make sure to hit us up and let us know what you think in the comments below or on Facebook, Twitter, and/or Instagram!

The film is directed by Matt Osterman (400 Days) from a script written by Cleopatra Coleman, is produced by Travis Stevens and Claire Haley and stars Coleman, Shane Coffey (Pretty Little Liars), Craig muMs Grant (Birdman), Beth Grant (No Country for Old Men), Fabianne Therese (Southbound) and Rhoda Griffis (Walk the Line).

It hits theaters June 29 and VOD/Digital HD July 3.


Hover takes place in the near future, where environmental strain has caused food shortages around the world. Technology provides a narrow path forward, with agricultural drones maximizing the yield from what land remains. Two compassionate care providers, Claudia (Coleman) and her mentor John, work to assist sick farmland inhabitants in ending their lives. After John dies under mysterious circumstances, a group of locals helps Claudia to uncover a deadly connection between the health of her clients and the technology they are using.


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