Creep: "Can you tell me what happened to the Seafairer [sic] Motel?"
Dylan: "It is the Bates Motel now. New owners. Still crazy as shit, though."
Creep: "Perhaps I will take a room. Do you have any creepy rape suites available?"
Dylan: "We're not opening for another week, sorry."
Creep: "This is B.S. Where is Keith Summers? We're old monster business partners in the flesh trade together, obviously."
Dylan: "Dead as hell, my friend. Appendages chewed off by fish, is how dead."
Dude just rolls the window up on him, puts those devil sunglasses back on his menacing face and purrs on out of there. It is terrifying. Everybody in my house was like, "Norma, your new boyfriend has arrived."
Norman's just normaning his way down the hall, hoping and hoping, when he finally spots her: Bradley, with all her satellite Bradleys hugging her and offering their condolences about her dead burned up father.
Norman: "BRADLEY! Bradley Bradley Bradley Bradley you're back!"
Bradley: "Hmm. Yes, hi. Can't hide behind death forever."
Bradleys: "That was so deep. Oh my God, death has made you so deep. Bradley, we wrote your book report for you. It is on The Odyssey, which is about a father who would do anything and risk any punishment to return to his family. Eventually, unlike your dad, he makes it home."
Norman: "Anyway. So will I see you later? And we can start planning our wedding?"
I've thought this actress was a good choice, but something about the eloquently awkward and noncommittal and brutally realistic shrug she gives him as she's walking, backwards, away from him, is just perfect: She's just bein' Bradley, man. Don't cage her up -- she's barely there to begin with.
Did you know the Nice Guy thing is an actual stage of human male development? Oh, it's some sick shit. Basically Jung has it set up, you know, with the anima inside the man (look out, Norman!) and the animus inside the woman, and so -- as a natural consequence of the male privilege that has defined us as long as there have been people -- men go through a thing throughout their lives where they look at women as defined through this personal, internal female self.
And the other major contrasexual archetypes are already filling up with experiences and numinosity -- the Goddess, the Mommy -- and informing it (watch out, Norman!), so a lot of male development actually is about navigating these waters consciously, about seeing the ways that other people don't and do line up with your experiences, with those changing and developing personal archetypes and continually refining them all, down there in the lake under the concrete. (This is also what The Odyssey is about, which is why so many of those run-ins are with goddesses and demigoddesses: why Penelope has to do everything she can to keep the men off her back while she waits for her husband; why Telemachus must plunge himself into the world of men without a guide, because he's fatherless; why Calypso eventually has to let Ulysses go.)