Dylan: "Whoa, I actually got through to you?"
Norman: "Kind of, but I mean literally. Check out this rape belt we just found."
UP THE HILL
Bookending the end of the episode (and the character) nicely, when Norma sees the car drive up she thinks it's the boys, and because of the headlights backlighting him, for a long time she mistakes Shelby for his double. And by the time she can see him, it's well too late. He grabs her on the porch, hiking up her skirt, and -- while there's some more funny-Farmiga physicality to it -- suddenly the distance from Norma to Jiao is not so far at all. There's an Antebellum kind of rapeyness to it, this grand house and the rascal gent and her pushing him away weakly, like all that's missing is the fan in her hand.
And the whole time she's trying to make him stop without seeming to be doing so, tossing out rhetorical gambit after rhetorical gambit, she's also forced to make these little sighs and gasps because he's "turning her on" so much, and it's so gross, and it's like watching all of her stuff at the same time, but at least right now she is repulsed, solely, by his touch. I was afraid at this moment it would get complicated. I'm not entirely sure it doesn't, but for now she's not having it.
The Boys toss the belt into the Bay, and directly address the audience: "It's not a hand, it's not going to float. Nobody is ever going to see this belt again. The show is about to be something else. The belt is about to stop mattering. Don't worry about the belt, stop talking about the belt, this is a Shelby thing, and the show is about ten minutes from not being about Shelby anymore. It might still be about carpet fibers, but the sexual threat is no longer a major issue, and Romero is a different kind of storyline entirely. Plus we might get to see that cute attorney again, which would be nice."
Dylan, verbatim: "There. Now she's safe."
Norman, verbatim: "Thanks."
Dylan: "No prob, little man. Now let's go pack your shit."
Norman: "Oh, I thought that was like ... a metaphor? We're actually doing this?"
Dylan: "The great thing about you having zero ego to speak of is that marching orders actually work on you. I'm not Norma, but if we play this straight and she doesn't fuck it up, I can force you to move in with me just through willpower."