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Emma Decody, Bates Motel s01e01 and s01e02.

1.01 First You Dream, Then You Die

hiii can you make some emma decody icons from season one of bates motel please? 🥺

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he has big sad blue eyes. his parents are brother & sister. he is capable of running a man over in cold blood with his car. he is the most loving husband & father to his brother’s ex. I didn’t say a name but he popped into your head <3

I've never realised until you mentioned it how similar Norma/Romero and Kim/Jimmy's weddings are. prayer circle that Jimmy and Kim have a happier ending because christ I don't want to handle that kind of pain again

it makes me want to jump off a cliff directly into the ocean <3

to be fair, the circumstances that drive them to do this and the characters themselves are all very different - part of why i like to amuse myself thinking of kim and norma interacting (or rhea and vera cast together as sisters, i'm telling you, someone do this!) is the stark differences between those women. kim works so hard to keep herself contained, not to telegraph her thoughts, to restrain her emotions and quietly take the measure of everything; norma is completely unable to do this and is much more transparent in her reactions and emotionally volatile, but the thing that gets me is they're both unexpectedly unpredictable, both strong and defiant and flowing with depths of anger and love, both prepared to do whatever they must for any situation or the person most dear to them (jimmy and norman respectively). they both had difficult childhoods in disparate senses, and the abandonment and instability left permanent scars. they have such wells of hurt and resilience within them that i think they'd understand and have compassion for one another despite being juxtaposed in their outward displays. (also alex would not like jimmy, which is just so funny. not that alex really likes people in general, but a flashy, gregarious defense lawyer would be anathema to him personally.) bonus, kim and norma are both the queens of yelling at men. no one can tell a man off like either of them can.

obviously jimmy and kim love one another deeply and are already romantically involved, whereas alex and norma have danced around their attraction or even openly antagonized one another, but what's interesting to me in the wedding scenarios is both women propose (!) ostensibly for reasons of convenience. maybe we get married, and we're legally protected. maybe you could marry me so that i can have the insurance i need to help care for my mentally ill son. they convince themselves these are business transactions. mutually beneficial arrangements, but nothing more. except these men are totally head over heels for them, whether they want to admit it or not, so of course they'll do it, they'll do anything for them. jimmy will do anything to make kim happy (jimmy switches the numbers for her, survives the desert for her, would die for her), alex will do whatever he can to protect norma no matter how corrupt it makes him (alex kills for her more than once). so they enter into these false marriages with underlying truth. with this tentative spark and hope of acceptance and being loved back, only to miraculously realize that they are. getting married brings jimmy and kim even closer, cements their connection and their love and causes it to exhibit itself in new ways, both good and bad, anything that keeps them together. getting married makes alex and norma, through their stubbornness and their issues, recklessly fall in love with one another and display real vulnerability that they never show (or perhaps are incapable of showing) anyone else.

they get married nervously, under pretense, with no trappings, no grand gestures, no tulle or roses or even idealism, and it leads to them being the most honest they ever have been, and the most romantic.

it's fatal in norma and alex's case (though a lot more factors are at play there than their marriage, it's certainly a cause. and i love norman and have sympathy for him and think that action is one of the most plaintively tragic things i've ever seen, the image of norman walking through the house and closing the vents set to eerie mr. sandman lives in my head rent free, but that's...a whole other post), in jimmy and kim's case i think the outcome is going to be something all its own and not resultant in that permanent grave, though there are other forms of grief withering love that could be more painful than death. since they're both prequels, we know quite a lot of doom is sealed from the start. norma is never going to escape her fate, the basement awaits from the moment we meet her. she has WAY more extenuating circumstances, and her codependent, consuming, irrevocable bond is with norman first and foremost and eternally, which causes a schism for her (and she chooses her son, of course she does, this is inevitable from the beginning), whereas kim's codependent, consuming, irrevocable bond is jimmy alone. alex wants to be a savior of sorts but is no white knight, he and norma both have blood on their hands, they both carry guilt and yet would take those actions again without pause. it's a whisper of a romance, though i'd argue the "pack your bags"/"where are we going?" scene is one of the most powerful in the entire show and an example of unflinchingly accepting love. still, they get two weeks. two weeks to feel that measure of love and union and comfort, and who can even say if it would've lasted? she dies before they're fully tested, looking ethereal and angelic and haunting his memory, curling him into vengeance and despair like the edges of a burned letter. it was an ephemeral thing, their bubble as she described it. shimmering and brief, and the point was having a moment.

jimmy and kim live in their own world of ghosts, but we don't know how their story ends yet. their connection has been anything but ephemeral. it has been enduring and constant. it has spanned years, transformations, victories, laughter and grief, bloodshed. they choose each other over and over again. they make each other braver and better, they make each other devious and worse, they define and illuminate and construct each other's identities, they are destructive and salvational for one another. the everlasting and ever-developing quality of that makes me think that maybe there's some measure of, if not light, at the end of their road, something akin to reunion and/or a modicum of healing. (a fool's hope in denial? maybe!)

tl;dr but YES i am very very emotional about the parallels and contrasts between their relationships at any given moment, and the courthouse city hall weddings in both cases moved me in a particular way.

alex and norma have this delicate, uncertain kiss that unfolds into a Real Thing

and they stand on the steps with the weight of this choice

jimmy and kim have a perfunctory kiss that becomes tender and Very Real

and they stand on the steps with the weight of this choice

they tie their lives and destinies together, and then cautiously carve out a space to call home amidst the tumult of a dark and threatening universe, trying to keep one safe place of sanctity for their hearts, one place to embrace each other regardless of their sins. the specter of death follows them past the threshold, but maybe that isn't the meaning of it in the end. maybe it was being seen. maybe it was taking their broken pieces and holding them reverently for a moment.

maybe it was taking the risk to love at all.

@bulletskull​ ;; starter call 

   “ Room service. ”   She tried to sound as strong and assertive as possible, praying that her voice didn’t flutter or show weakness. She hoped nothing would give away the fact that her heart was pounding and she felt slightly lightheaded by this. Norma had told her that she thought she saw their new guest coming back with a wound of some sort. Emma had been worried she would need to talk Norma into not calling the police, instead to just go investigate. The Bates Motel couldn’t take many more hits to its reputation. Was it bad for Emma to hope to not call the authorities? Norma must truly be rubbing off on her. “ I brought towels... and a first aid kit. I--uh--I saw blood on the stones outside near your room and, since you’re our only guest at the moment, I inferred,” She cleared her throat, eyes darting around before stopping back at the closed door, “You, uh, you don’t need to worry about the police. No one really comes by this place unless prompted. Which, now that I hear myself say it, sounds super ominous. But I’m rambling. I, just-- we’re here if you need anything. ”

lonehermitwitch >>> militv

Emma Decoy — Bates Motel, Season Two, 2014.

Aaron made a miniature Bates Motel gingerbread house for Xmas one year. The ground is covered in crushed graham crackers and chocolate cookies, coffee, and shredded wheat.

Windows are made from melted candy, walls and roof are covered in fondant.

Roof [and porch] railing is made from tiny cut pieces of painted noodles.

The base is four feet by four feet, and the highest point is about two feet tall.

The stairs are made from dyed Rice Krispie treats.

Motel roof covered in flaxseed with painted noodles for the support poles. Ice machine words are printed on edible paper.

View into Norman Bates’ taxidermy parlor. Clear window made from thin pieces of dried gelatin.

Peeping through the hole in the wall into Marion’s room. Furniture and props made from marzipan, gum paste, fondant, and gingerbread. Paintings printed on edible paper, rug printed on super thin fondant.

Room 1, Marion’s room. 

Lamp made from a bite sized Reese’s Peanut Butter Cup.

Notice the suitcase, the bird pics on the wall, and the tiny key that Norman picks up after the murder.

The iconic shower scene. Shower rod made from painted noodles, curtain made from clear gelatin. And notice the tiny chocolate chip shower head. He took liberty w/the amount blood in the scene.

Marion’s car sinking into the swamp behind the motel.

The swamp is made from melted Jolly Ranchers.  The car is several pieces of gingerbread wrapped in fondant and hand painted. It even has the same license plate from the movie.

Arbogast getting stabbed on the staircase…Gingerbread stairs. Notice Norman’s hair sticking out of mother’s wig.

Final scene in the basement.  Lila Crane turning around the chair to find Norman’s dead mother. But watch out Lila, Norman’s behind you!

https://www.messynessychic.com/