There can be no doubt as to Alfred Hitchcock’s incredible influence on culture and cinema and the great mould-breaker of them all was Psycho (1960). It changed the way films were made. Partly because Hitchcock had been making such a success of his career in TV. In the mid-1950s Hitchcock began a different phase of his career: the Film Director as Superstar. He inhabited every American living room with the success of his weekly TV suspense series, Alfred Hitchcock Presents, in an extraordinarily profitable deal negotiated by superagent Lew Wasserman.The director commented that “the invention of television can be compared to the introduction of indoor plumbing. Fundamentally it brought no change to the public’s habits. It simply eliminated the necessity of leaving the house.” Now everybody’s home was subject to a weekly fright night. Or, as Peter Conrad puts it, “Hitchcock brought fear home to us.” Psycho would have its own double, triple, quadrupled life form as it multiplied and sequelised. The second sequel was directed by Anthony Perkins, Norman Bates himself, doubling as star, and the original even got its own cover version, directed by Gus Van Sant in 1998 with the approval of Pat Hitchcock. It has been prequelised in TV series Bates Motel (Universal, 2013-). Far from being the wack job that such a concept suggests, according to Stephen Rebello, Hitchcock had hoped to make a prequel to the film and discussed it with Robert Bloch (Rebello, 2013: 188). That didn’t come to fruition in his lifetime – but it has in ours, and thank goodness for it. It differs from Psycho IV: The Beginning. Moving the action to Oregon in the Pacific North West, we are in Twin Peaks country and the series, now concluding Season 4, has all the hallmarks of lessons well-learned. Season 1 focuses on the move to the fabled haunted house, with Mom Norma (!) and son Norman, still in high school, trying to make a go of the business while a proposed bypass will bring traffic in the opposite direction. Dad died mysteriously in Arizona. A man attacks Norma, she kills him and Norman helps her get rid of the body. In Season Two Norman gets way too close to his teacher who winds up … dead. Another son shows up, Dylan. We get the strong whiff of incest. In Season Three, Norman’s close friendship with a girl is paralleled with his mental disintegration and the Sheriff who’d been close to Norma distances himself. In Season Four, Norman is introduced at full throttle drag and things are really heating up after he’s released from a local mental hospital. There is SO much more but those are the bones of it. Season Five is promising the appearance of a certain Marion Crane – which is where we all came in! This is A&E’s most successful scripted show and it is stunningly constructed. At the heart of it is the relationship between Norma and Norman: the bravura performances of Vera Farmiga (executive producer) and Freddie Highmore as the creepily co-dependent deluded psychotic duo are just part of an extraordinarily brave hybrid of remake, sequel and prequel developed by Carlton Cuse, Kerry Ehrin and Anthony Cipriano. Hitchcock’s fright night lives. Roll on Season 5! I cannot WAIT!