It’s a little shocking that Bates Motel has pulled off the magic act that it’s slowly been playing for the past four seasons. This once awkward—albeit always committed—series is finally emerging from its cocoon as important television in its final year. It’s remarkable to look back at the young, ambivalent performance that Freddie Highmore was turning out when the show began versus the flat-out frightening, contemplative work he’s currently doing as Norman Bates. After all of the pointless trips to opium dens, irrelevant prostitution ring busts, and Bradley constantly sticking her breasts where they don’t belong, we’re actually at the finish line here and it’s so damn good.

The end of Bates Motel’s last season was already pushing the series in the right direction with Norman’s fragile mental state becoming much of the year’s focus. The events that end the season mark the culmination of everything that’s gone on with Norman and his mother and after he takes her life, this final season is poised to see Norman giving into his demons like never before. He no longer has the tether that’s kept him (somewhat) grounded in the past. This season wastes no time, as Norman already finds himself firmly in Crazy Land, and there are many subtle touches to indicate just how deep in the rabbit hole he is. Tiny details reveal information like how Norman’s been wearing his mother’s clothes for a while now and that it’s in fact two years since the events of Norma’s death in last year’s finale.

This year sees Norman running Bates Motel on his own, an act that gets him intothe new hardware store where he meets the Loomises. Madeleine Loomis particularly stands out to Norman due to how much she reminds him of Norma, something that also wreaks havoc with Norman’s subconscious. It’s also uncanny how much Isabelle McNally looks like Vera Farmiga here. The show absolutely killed it with the casting. If I’m freaking out over how much Madeleine looks like Norma, imagine what’s going on in Norman’s head.

Highmore has consistently shown growth in this role through the seasons, but this year is obviously meant to be the showcase of Highmore’s ability and Norman’s deterioration. Highmore excels by utilizing a bit of an Anthony Perkins impression with a few select line readings. It’s a welcome touch that doesn’t go too far in the campy direction. While Norma might be dead, Vera Farmiga is far from being absent in these final episodes. If anything, Norma serves an even stronger presence than before as she’s allowed to run amok through Norman’s mind.

This premiere is full of scenes where Norman and Norma are simply arguing over their current situation, as Norma reiterates that Norman got them into this mess so he might as well embrace it. This season is about accepting that normalcy is gone now. The episode spends a lot of time painting the Bates house as a purgatory paradise for Norman and his mother. It’s the one place they’re allowed to be open and honest.