That’s My Entertainment recently had the opportunity to talk with some of the stars behind A&E’s, BATES MOTEL. Currently in it’s 4th season, Monday night’s episode marks the first episode in which the show’s star, Freddie Highmore, has taken on the additional role as writer. It isn’t the first time one of the cast members has stepped beyond the role of actor. Vera Farmiga, who stars a Norman’s mother Norma, is credited as Producer & Executive Producer on over a dozen of the episodes and co-star Nestor Carbonell (Sheriff Romero) has even directed an episode. We asked Creator, Writer, & Executive Producer, Kerry Ehrin as well as Norman Bates himself – Freddie Highmore some questions about the show and whats coming up.
Q:Freddie. I love your portrayal this season but am even more excited to see the episode that you wrote. Is this something that you want to get into more ?
A: Yes, I’d love to. I guess it was — I mean first of all, I’m obviously incredibly grateful to (Carlton) and Kerry for allowing the writers room and giving me an opportunity to write an episode and be a part of Bates Motel beyond merely acting. And I guess it was borne out of this desire to want to be involved in the wider process and it just seemed a little odd to me to put so much into this character for the four, five months that we shoot in Vancouver and then let it completely go and just sort of go away and ignore it for a few months. And then come back and be like, oh let’s just see what’s been happening.
(Unintelligible) continue to be involved in the wider process of creating the character. And so that’s I guess where the desire was borne out of and now very much so I am sort of loving — I love the writing experience on Bates Motel and being part of that team and am writing more things.
Q: Freddie, so I think this season separating Norman from Norma has really moved the story forward and I’d like you just to speak a little bit about how you think being separated from Norma has allowed Norman to evolve and to change.
A: I think part of the interesting thing about having separated Norma and Norman is that we’ve allowed the mother side to Norman to develop greater. And I think part of that is borne out of the fact that they are physically apart, and so through that sense of missing for her and yearning for her, he at times has visions of her, or more commonly starts to slip into that guise of being her. And I think that’s what was fascinating for me to play this season, those moments of transitions in scenes with Dr. Edwards, for example, where we see Norman slip into the guise of mother and take on this other side. And I feel like that is released because of their physical separation. So that’s been really, really fun to play.
Q:So like your character then, you sort of agree that he may have been better off just staying at home rather than going into Pine View?
A: Well, I feel like they have to be together. They really — there’s a scene at the end of eight when Norman says this to Norma and the whole Romero thing comes to the fore in number eight. And they do have to be together. They need to be with each other in order to function. And in a way from Norma’s point of view, I feel she slightly deludes herself by living in this dream, this very happy reality that she created with Romero. But when Norman comes home, as he eventually will, and we know from the story that he’s going to have to come back, it sort of becomes revealed as this more of a fantasy and of a dream of another life, but it’s not a life that she can ever actually leave.
And so I think Norman, in number eight, in a scene towards the end, really latches onto that idea of knowing how inseparable they really are. And as much as they want to deny it, or as much as they wish that it may not — might not be true, it always will be. No one will be able to get in between the two of them. No one will be able to break that cord.
Q: Kerry As the reimagined story of Psycho is taking its own directions, what are some of the biggest challenges with trying to keep it on track with at least some of the events in the original movie?
A:I don’t really see those as challenges. Those are more opportunities and they’re fun. When you can really organically pull in little important bits or an iconic image, a little bit of dialogue, a reference, those are fun. Those are fun to get to use and we use them sparingly. We always — Carlton, (cues) and I always from the beginning wanted it to feel like a world of its own but we wanted certain iconic presences like the house, the Psycho house. And when we get to use those things, it’s actually really, really fun. So I wouldn’t say it’s challenging. I’d say it’s sort of delicious.
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
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