Freddie Highmore returns to the director’s chair this episode (after writing last week’s episode), and it’s encouraging for the show’s production to let him tackle such a weighty offering this time around. Not only is “The Body” an especially Norman-centric installment, but it’s also exploring an entirely new environment, playing a lot with tone, while also needing to set up the show’s final two episodes. It’d be a lot to take on for any director, let alone someone who is also acting in the bulk of the scenes. Highmore once again sticks the landing (both behind and in front of the camera) and I’m quite curious to see if he chooses to continue with directing after Bates Motel’s conclusion. It looks like he could turn out some satisfying horror films or psychological thrillers if he’s so inclined. He also mines some great physical comedy from Chick and that raccoon bag.

Sheriff Greene’s (who does a much better job at establishing herself this episode) initial talk with Norman regarding his testimony is painfully frustrating. It’s so, so tragic to see Norman getting shut down here after making so much progress towards “recovery.” The idea that the show can reach the pivotal moment of Norman confessing to murder and have Greene telling him that she doesn’t believe him is so sad that it actually borders on being comical. Greene’s assessment that Norman is merely a stunted child in an adult’s body is dead on, but it’s pushing her in the wrong direction. It’d just be too crushing to see Norman released and murder Dylan and/or Emma because Greene thought he was just a lonely boy who was wanting attention.

It should come as no surprise that Norma ends up making an appearance at the police station. She’s completely appalled at how far Norman has allowed all of this to go, determined to take control of the situation and make things right. There’s some rather brutal Fight Club-esque solo violence that occurs as “Norma” kicks Norman’s ass in order to gain control. Highmore has always done a great job at differentiating between playing Norman, Norma, and Norma as Norman, but his performance here feels particularly electric. Maybe it’s the fact that he knows he needs to put a real show on for Greene, but Highmore really kills it with the subtle touches. It’s an unnerving performance. Unfortunately, it’s also one that just gets Norman in infinitely more trouble. If Greene wasn’t suspicious of Norman before, she certainly is now.

“The Body” also spends lots of time with the only family that Norman has left, his brother. Dylan really goes to bat for Norman here and tries to keep him as safe as possible through all of this. It feels like a big part of Norman reaching the other end of the tunnel here has to do with Dylan’s ability to protect him. He goes as far as hiring a cutthroat lawyer, Julia, to help with his brother’s situation as he continues to feel helpless about Norman’s condition. I understand why Dylan is going through all of this alone, but I kind of feel bad for Emma getting the shaft through the bulk of this season. She could easily be along with Dylan in some capacity (although it’s appreciated we get her checking in via phone) through his investigations. At this point I wouldn’t even be surprised if she was absent from the finale entirely.

The Julia material doesn’t connect as well as it hopes to and just feels inorganic to the voice the show has been building over five years. The episode gets fairly clunky whenever Julia and Norman are communicating, especially with his whole, “You work for me!” mentality. This legal direction could very much bog down these last two episodes and I don’t think anyone wants to see a courtroom filling the end of this show.