Ask the Fans: 'Bates Motel' Executive Producer Carlton Cuse Gets His Answers (and Provides Some of His Own)
With the April 6 episode of Bates Motel, we’ll be halfway through the third season, and since the show is running for a total of five 10-episode seasons — we’ll add it up for you — that means we will be, officially, halfway through the series after “The Deal,” an hour that also marks the directorial debut of fan-favorite star Nestor Carbonell.
“It’s a really good season. I’m really proud of it,” Bates Motel executive producer Carlton Cuse tells Yahoo TV. “I think [EP] Kerry [Ehrin] and I feel like we got the show to the place we wanted it this season. I think you’re always struggling with a show to fire on all cylinders, and it takes so much alchemy to get everything working as you want it. This season really feels like we accomplished what we set out to accomplish, and the story is really compelling, and it’s getting us to the place that we wanted to [be at] at the end, and it’s a really great character story along the way.”
In honor of this pivotal spot in the timeline of the series, we enlisted Cuse to take part in our Ask the Fans series. He posed seven questions to viewers, then we pored over their responses and phoned him to discuss the most popular and interesting answers.
Dive in for some great Bates insights, from fans and Cuse alike, as well as some juicy hints at what’s ahead in White Pine Bay.
CARLTON CUSE ASKS: Kerry Ehrin and I have said Bates Motel is going to end after five seasons and a total of 50 episodes. Does that make you more likely to watch — knowing there is a defined end point?
ANALYZING THE ANSWERS: In general, yes, the fans love the fact that there’s a set end point in place. Not that they won’t miss the goings-on at Casa Bates; but, as Axy Dewelle put it, “Knowing that we’re in for a limited run is, in my opinion, a very strong thing… that way, I know things won’t go to hell and that the shark won’t be jumped.” Added Megan Haas, “Because this is a prequel, and we already know what becomes of Norman and Norma Bates, there almost needs to be an end date in sight in order to not exhaust the series.” And Eugene Fields said, “When you have a series based on an established mythology… the fun is seeing how we get to the end point.”
Related: ‘Bates Motel’ Is Back: Here’s How Crazy-Creepy This Show Can Get
CUSE RESPONDS: That’s good. It’s gratifying to see people appreciate that decision. This is not an open-ended narrative. We consider Bates Motel to be a story with a beginning, middle, and end, and Kerry and I want to bring the story to an end on our own terms. We feel the show will be all the better for that. We don’t want it to just peter out and die the natural death that most TV shows die. Particularly this story, because the end of the story, you think you know the end of the story from Psycho, and we want to present our own version of an ending for Norma and Norman — [one] we think will be absolutely right for our story, using these characters. That’s exciting. We do have a road map for the last two seasons of the show, and we’re excited about executing it.
CUSE ASKS: What are the things you like best about the show?
ANALYZING THE ANSWERS: The biggest takeaway from the smart, thoughtful answers to all the questions is that Bates Motel fans are a smart, thoughtful bunch, who really took the time to offer their insights and share their appreciation for the show’s writers, cast, and crew.
The other lesson learned from this particular Ask the Fans session: Bates Motel fans love to ship Norma (Vera Farmiga) and Sheriff Romero (Carbonell) — or “Nomero,” as they’re known. Wrote Sara Boch, “Unexpectedly, another aspect of the show caught my attention, and now it’s probably the one I’m looking most forward to: interactions between Sheriff Romero and Norma were probably… my favorite scenes in all seasons. The chemistry between them is so electric.”
Other themes emerged:
As Axy Dewelle said, “I’m a huge fan of [Max Thieriot’s character, Dylan], and his struggle to build up a life and to regain, even if he does not admit it easily, Norma’s trust and love.”
Bayleigh Von Schneider spoke for many fans, writing, “The scenes where we get to see Norman break from reality and come in contact with ‘Mother’ Norma [are] absolutely breathtaking. In Psycho, the audience doesn’t really understand just what makes Norman, Norman, other than the psychosis that he suffers from. With Bates Motel, we see more into not just Norman’s mind, but his soul as well… The first two seasons have given a reason to be truly sympathetic to Norman; seeing him succumbing to his psychosis is undoubtedly poignant.”
And Paige Laserna declared, “We see spinoffs and sequels and prequels… in Hollywood all the time. So rarely does a story honor the source material and still manage to add something new to the world it’s writing about it. Bates Motel is one of those few success stories.”
CUSE RESPONDS: By making the show a contemporary prequel, our goal was to get out of the shadow of [Alfred] Hitchcock, because I think there is no improving on Psycho. I think it’s as close to a perfect movie as there is, so by telling our story in a contemporary setting, we could tell our own version and not feel like we were… living too much in the shadow of the movie. At the same time, we’ve tried to be respectful to the movie and also as such huge fans of the storytelling in the movie, we’ve tried to hit some of the same bus stops as the movie along the way while telling our own story. It’s nice that people appreciate that connection.
[As for “Normero”], our intention is to make people want them to get together. When that might happen, Kerry and I wouldn’t want to say right now, but that’s exactly what you should be feeling. You should be wanting them to get together, and I think anticipation of romance has been one of the staples that has fueled great television throughout its history. We feel like we have an epic couple with Norma and Romero. We plan to deliver on the promise of that at some point, in some form.
CARLTON CUSE ASKS: Which character do you feel you are not seeing enough?
ANALYZING THE ANSWERS: Romero, Romero, Romero. Oh, and Dylan. And more Romero, Romero, Romero. “Some more backstory on Romero would be interesting!” Melina Leiderman wrote, in a thought that was seconded, third-ed… you get the picture. “[Romero] needs a bit more development — he is hiding some secrets,” said Gwen McGraw. Sara Boch understands the writers’ dilemma: “He is such an enigmatic, mysterious character and Nestor’s performance is always on point. It would be a shame to not give him more screen time. I get that the writers can’t reveal too much about him… he needs to stay mysterious… I liked him in Season 1, then loved him in Season 2. Season 3 has barely started and my love for him just keeps growing. Can we have more Sheriff Romero, pretty please?”
Dylan, Norma’s other sweet, handsome (and not destined to go Psycho… we think) son, also has a big support group. “I don’t see enough of Dylan. In Season 2, I really loved the relationship between him and Norma, and how Norma eventually started to depend on him. I would like to see more of their relationship,” Lauren Gonzalez said.
Paige Laserno spoke for several fans who want to spend more time with those around Norma and Norman (Freddie Highmore). “While Vera and Freddie’s heart-wrenching performances and Norman and Norma’s story are the foundation of [the show], the side characters are what keep me watching. Perhaps it’s because they are not in Psycho, therefore, their respective fates are unknown to the viewers. It keeps me guessing… and it’s very rare for an audience to be so accepting of new characters in an already established world.”
CUSE RESPONDS: That’s great. I had worked with Nestor on Lost, and when Kerry and I were conceiving the show and imagining this character, he was really the first guy that popped into my brain and the only person who popped into my brain. There was really no one else who was even considered. We just basically made a straight offer to Nestor for the part. He’s just taken the ball and run with it. He’s done such an amazing job with the show. He’s everything that we wanted for the character and more.
CARLTON CUSE ASKS: What is the story you most hope will happen — or are the most excited about seeing long term in the series?
ANALYZING THE ANSWERS: As we said before, Bates Motel fans are a Normero shippin’ bunch, and that was far and away the most popular response to this question. Daniela Catelli, Sara Boch, Tasha Tanimoto, and Julio Netto all want to see Norma and Sheriff Alex find some peace and happiness together (however short-lived it might be).
On the wish list for another large group of fans: Dylan and Emma (Olivia Cooke), or, as the supercouple name would be… well, Petra Mervartova has it: “Dylemma. Dylan and Emma. I want them to be together so badly! They are perfect for each other, quite opposites, but he can protect her and treat her like she needs to be treated, and she can give him the love and attention Norma didn’t give him his whole life.” Karen Cuello added that Dylan and Emma are the “most caring, pure and ‘normal’” people in White Pine Bay, and TJ Silver said, Dylan and Emma’s interactions “have kept me deeply invested in the show over the past seasons. It seems this season we are finally getting to see them get close, and this is what I am most excited about… how their bond can help both Norma and Norman identify the gravity of Norman’s condition.”
Others look forward to:
Dylan’s fate: Glenda Spence wrote, “I’m curious to see how Dylan develops and the choices he makes, especially now with his father more in the picture… We feel for Dylan (Max is also fantastic!) as he perches so precariously between good and evil.”
Norman and Emma: “I am really interested in seeing what will be happening with Norman and Emma’s relationship,” Bayleigh Von Schneider said. “While I understand that Norman can’t fully be with anyone without the ramifications being disastrous, I am interested in seeing where this relationship beyond friendship goes, and how long it goes on before Emma realizes he might have ulterior motives… Norma at this point doesn’t see Emma as a threat… I am interested to see if Norma’s actions will change once Emma, as Norman’s girlfriend and not simply his best friend, tries to [insert] herself into Norman’s life in a different way.”
Norman’s psychosis: “Long-term, I am most excited to see the culmination of Norman’s downward spiral into psychosis,” Eugene Fields wrote. “That culmination, in my mind, will show Norman killing and stuffing Norma.”
Norman’s, um, fashions: Isabella Garcia said, “We may have gotten hints of this storyline already in promos, but I’m really excited to see Norman start dressing in Norma’s clothing and, in general, start acting like her. The more callbacks to the film we’re given, the more I fawn over the show.”
Death: “I want to actually see Norman kill someone,” Kevin Hasler said.
Norma’s history: “I would like to know more about Norma’s backstory, her mother’s insanity,” Karmen Paulus said.
Norma and Caleb’s history: “The backstory for Norma and Caleb is a little unclear, because Norma said he raped her, but Caleb said it wasn’t like that,” Alyssa Gonzalez wrote. “So if Caleb was being honest then it would be interesting to see what [really happened].”
CUSE RESPONDS: I think when you’re writing, creating television, it’s best when you view the show as this organic entity and you don’t try to fully impose your will on it, but you listen to the show and it tells you what it wants to be. I think one of the things that Kerry and I both found out very quickly is that Romero had this amazing chemistry with Norma. We really leaned into that and really tried to play that up in the show. The Norma/Romero relationship has so many dynamics to it, and I think this season, it’s really a central arc of our narrative: What is the level of trust that exists between these two people? Norma is not a person whose circle of trust really extends beyond one person. Maybe in a growing way to Dylan, but this idea that she could truly trust Romero and be open and vulnerable to him is something that the show explores this season. It’s also along that journey, which has a number of ups and downs during the course of this season, that we really see these characters get connected to each other in a new way, and that’s something which we’re really interested in exploring down stream in the series. That feels like a really rich place for future storytelling.
Fortunately, the third season answers the questions [about Norma, and Norma and Caleb]. You’ll definitely see more of Norma and Caleb this season. One of the big arcs of the season is what happens now that Caleb has come back to town. What are the consequences of that for his relationship with Norma? It’s interesting that people want to know more about Norma’s psychology and how the whole bond developed, but I think that’s a great comment and something that will be explored down stream in the show. Maybe in ways that you don’t quite expect, but we have a plan for that, that I think is a pretty interesting way for us to learn some of that stuff.
It’s awesome that people are excited about the potential of cross dressing, and we’ll see what we can do about that.
Dylemma… that’s the best shipper term I’ve ever heard. That’s fantastic. The shipper term is worth having the characters have a relationship in and of itself. Dylemma fans out there, keep watching.
[As for Dylan], I think the thing that Max Thieriot brought to the role that we were completely unprepared for was his level of soulfulness. Was he a good actor? Check. Was he a good-looking guy? Check. Could he play a bad boy? Check. The depth of soulfulness that Max has brought to Dylan is something which has just been astonishing, and it’s something that Kerry and I have really leaned into in terms of the development of that character.
He’s just such a critical part of the show. This season especially, I think because as Norman starts to become more unhinged, Norma needs to rely on Dylan more and more, and that evolution of the triangle relationship of those three is something that’s a really interesting part of the narrative.
We actually are going to learn more about Romero’s backstory this season and actually meet a very significant character from his life.
[On the prospect of Norman killing and stuffing Norma], I don’t know quite what to say. I’m not sure that’s going to happen exactly, but very imaginative. There will be more taxidermy. Human taxidermy? Not so sure.
CARLTON CUSE ASKS: What is your favorite episode of the show so far?
ANALYZING THE ANSWERS: Several fans echoed the pick of Michael Stone, who named the game-changing Season 2 finale: “Season 2, episode 10… the polygraph scene, especially.” Added Sam, “It showed just how messed up Norman is and how much of a hold Norma has on him… how much she can control him in real life and subconsciously. The craziness that his mind possesses, (in this case just to pass a polygraph test) is just incredible! The real Norman Bates started to show in that episode, and I could tell that things were only going to get crazier from then on.”
Melina Leiderman and Chase W. Smith still appreciate the series premiere. “The pilot episode was fantastic, not only for giving us a great introduction to these complex characters, but for setting up a storyline and a tone that would gravitate throughout the entire series up to this point,” Smith said.
Many fans, including Paola Garcia and Lauren Gonzalez, were blown away by Season 3’s “Persuasion.” Wrote Gonzalez, “I really loved this episode, because we see Norman begin to change with his mother and finally break down under pressure. Norman becomes more confident and a little cocky when talking to Sheriff Romero. We also see him becoming more dominant, when dealing with Norma, and Norma at this point is afraid and doesn’t know how to help him anymore”
“It’s showing me that the Psycho in Norman is coming out,” Garcia said.
CUSE RESPONDS: [“Persuasion”] is a real pivot episode. This season is really about Norman’s increasing inability to control which side of his personality rules him. That was a definite step on the descending stairway, beautifully directed by Tim Southam. Again, an episode that we’re really proud of. If [fans] like that, there’s more to come this season that will be, I think, equally, if not more, compelling.
Personally, I think episode six [“Norma Louise”], written by Kerry, this year is just an amazing episode of television, and episode eight [“The Pit”] is also incredibly strong. My sincere hope is that as the show evolves, people will find episodes that they like even more, and to me, those two episodes are as good or better than any of the ones we’ve done so far. I’ll be curious to see what the audience thinks in a few more weeks after those have aired.
CARLTON CUSE ASKS: In general, how many chances do you give a new show to hook you?
ANALYZING THE ANSWERS: Big consensus here, and we’re guessing it holds true for viewers of most series: a show gets three, maybe four, episodes — at most — to hook a fan. And that’s only if the pilot has been compelling enough to even make a viewer tune in for episode two.
“In general, I give a new series three to four episodes to pull me in. After that, I make a decision from episode to episode,” Eugene Fields wrote. “My biggest frustration in finding a new show to follow is that the premise may draw me in, but the show can’t follow the momentum after the premiere to keep me interested.”
Said Axy Dewelle, “If I have found something that is interesting, I give it three to four episodes to win me over. If the pilot wasn’t catchy enough for me, then it’s a done deal, and I won’t come back.”
CUSE RESPONDS: I think in this day and age of so many choices on television, that’s probably fair. It’s really tough, particularly when you have a new show and it hasn’t been highly promoted or you’re competing in an environment where there’s over 300 scripted shows. I think it takes a while sometimes for an audience to find something, for people to say to their friends, “Hey, have you checked this out?” You always try to hope that networks will be patient and give audiences a chance to find the show. I do think that once you’ve watched a show, by three or four episodes in, hopefully you’re engaged enough by the characters to keep watching. It’s a little bit like a fish nibbling on a hook: I don’t think anybody has to fully swallow the hook by that soon in the show. Also, it kind of depends on the longevity of the show. I personally feel like Breaking Bad is one of the two or three greatest show of all time, and I don’t think that the first season is the strongest season. It’s good, but I think that if you stick with that show, it just gets better and better and better. It does require a certain amount of patience, but at the same time, I would say it was certainly compelling enough that I kept watching.
CARLTON CUSE ASKS: Which is a bigger cardinal sin in your mind: not resolving a mystery by the end of the season or killing a major character?
ANALYZING THE ANSWERS: The most interesting thing about the responses to this question is that fans don’t really have a problem with killing off a major character — something shows like The Walking Dead have primed us for — anymore, as long as the death is in service of a great storyline.
“To be honest, a beautifully done death can actually leave me with a ‘happy’ scar,” Axy Dewelle said. “I’ll keep on loving the character… I’d much rather lose my favorite character than see him or her [do things] the character would never, ever do.” Megan Haas added, “The fact that audiences get emotional over their favorite character dying means the series did its job. When a series doesn’t do its job is when questions are not answered.”
Leaving storylines up in the air? That can tick some viewers off…
“Not resolving a mystery is the worst,” Kevin Hasler said. “Especially when a show is not 20 episodes a year. You can’t expect a fan to wait that long for a resolution (or to care after months off the air!).”
CUSE RESPONDS: I’m a person who believes that a healthy dose of mystery can be very much a part of good storytelling. I love reading short stories that end abruptly or surprisingly. They don’t fill in all of what’s to come in the future. I love The Sopranos ending, the sudden cut to black in the middle of the characters’ lives. I feel like you can have a satisfying ending, but also maintain an element of mystery and wonder. And my favorite movies are ones that left me aching and wanting more story. You’re always searching to find that perfect cocktail at the end that’s going to feel satisfying, but also I think it’s a good thing to make the audience wish that there was more.
Bates Motel airs Mondays at 9 p.m. on A&E.