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Alfred Hitchcock’s Psycho (1960) remains the definitive cinematic study of a "psychotic" mother-son dynamic, where Norman Bates’ desire to both be with and become his mother leads to tragic consequences.

While the novel is famously about a father-son relationship, the ghost of the mother looms large. Amir’s mother died giving birth to him, and his father, Baba, never forgives him for this "murder." The absence of a maternal figure creates a desperate, fawning need for male approval. However, it is the secondary mother figure—Hassan’s mother, Sanaubar—who provides the novel’s most powerful maternal moment. After abandoning Hassan as an infant, she returns an old, broken woman to care for her grandson, Sohrab. Her redemption arc argues that while absence wounds, a mother’s return can heal generational trauma.

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As cinema has modernized, we see more narratives where the son must become the caretaker, flipping the traditional power dynamic. This explores the tragedy of aging and the cycle of life.

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In a different key, this show is a 100-hour meditation on the mother-son dynamic through a female lens , but focusing on the son-figure, Luke. More critically, it explores the generational trauma of mothers and daughters, but the male characters (Rory’s boyfriends) are constantly evaluated through the lens of what their mothers made them. Logan Huntzberger’s entitlement is directly traced to his dynastic mother; Jess Mariano’s rage is the product of maternal abandonment.