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“Screw this s–t.” With those three words, Rihanna’s Marion Crane upended the storied “Psycho” mythology — and got out of that famous “Bates Motel” shower with nary a scratch.When Marion finally finds out from Norman that the man she thought was her boyfriend actually has a wife, she escapes from him — and the murderous motel-owner — with her suitcase full of cash, leaving Sam to face the ultimate punishment in her place. Was it always your intention not to have Marion die? How much did you want to pay homage to the original, and how much did you want the scene to stand on its own? It’s become more of a new deal at the end of (episode) six, a new deal where he’s going to be treated as an adult in the relationship and how that’s going to work out. Is there a still a huge pull of control underneath? That’s clearly advancing toward a culminating act in the finale.It came time for Rihanna to recreate one of the most famous movie scenes of all time, as her character of Marion Crane stepped into the shower at Bates Motel.Cue the creepy music, and the unsettling shots from outside the shower curtain, and then, finally, that iconic murd…Wait, what? Fans expecting an exact recreation of the infamous shower stabbing scene from 1960's “Psycho” are thrown for a bit of a loop when the person ripping open the shower curtain isn't a murderous Norman Bates, but Rihanna herself.In April 1975, Gail discovers that the man her mother was living with - Frank Peterson - isn't her father as she thought.Angry, Gail leaves home, moving into the shop flat with her co-worker/former schoolfriend, Tricia.

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When crime hits a community, the minutiae – and humour - in life goes on more than some of those bleak Scandi cop shows would have us believe.

Spoiler alert: Do not read until you’ve watched episode 6 of season 5 of “Bates Motel,” titled “Marion.” That famous shower. Instead, the victim at the other end of Norman Bates’ (Freddie Highmore) bloody knife turned out to be Sam Loomis (Austin Nichols) — unrepentant philanderer and psychological substitute for Norman’s father, who we learned that yes, Norman did in fact kill. ” Here, Ehrin and executive producer Carlton Cuse answer that question — and preview what’s ahead for the rest of the A&E drama’s final season. We gave him latitude to decide to what degree he wanted to imitate the original sequence and to what degree he wanted to embellish and modify. The most striking difference is that it’s in color — which makes the murder really much more graphic and horrific. While she’s a person created inside his own brain, it’s a very real relationship. The character is caught between his increasingly violent tendencies and desires and his own perception of the world spinning out of control.

“It always made me laugh in editing every single time,” says executive producer Kerry Ehrin. He’s not a only a superb director but he was also the DP for “The Sopranos.” Here’s a guy who really understood camerawork. It’s certainly real for Norman, who’s the most self-aware he’s ever been about his own state of mind. It’s an evolution in the story and in his relationship with Mother. I think that the thing about this episode is that it’s very intentional that Norman kills Sam as Norman and not in drag (as Mother). That represents a real evolution for the character.

The rest of the cast is strong, not least Sinead Matthews ( was commissioned before the Grenfell Tower fire highlighted some of the unpalatable truths about our country’s inadequate housing system to those of us fortunate enough not to have first-hand experience of it, but this was a timely, eye-opening watch.

The host was helping hard-working, “hidden homeless” families to find long-term accommodation.