Bates Motel Recap, Episode 5: "Ocean View"


This week on Bates Motel: Norma storms off, repeatedly. Norman attempts to repress his happiness, repeatedly. Shelby acts creepy, repeatedly. There’s also a shooting and a shocking discovery (not repeatedly). Here we go!

Do Not Pass Go. Do Not Collect $200.

In case last week left you wondering about how far Bradley and Norman went in their grief-stricken make out session, I think we have our answer. In the lovely morning light, Norman pulls his clothes on and gazes at the still-snoozing Bradley, then leans over to almost-but-not-quite stroke her hair. (Sweet or mildly creepy?) Also, she appears to be wearing a belly chain. Do people really still wear those?

His walk home reminds me of the trance-like stroll he took for the late-night raid on Officer Shelby’s house a couple of weeks ago, but his expression could not be more different. Instead of barely-suppressed rage, Norman is now barely suppressing a grin. Scratch that, he’s not suppressing it at all. He tries to play it cool when he walks into the kitchen to find Dylan eating a bowl of Rainbow Crunchies, but he just can’t seem to help himself. He even breaks into a half-chuckle, but his mood is abruptly broken when Dylan informs him that Norma is in jail.

The brothers go to see her in the pokey. You know that super-cliche saying, “If momma ain’t happy, ain’t nobody happy”? When it comes to Norma Bates, that’s not lip service—it’s truth.

“How do we help?” Norman asks her.

“I’m glad you wanna help, Norman, really, that’s big of you. Any mother would be broken in half by such devotion,” she spits.

Dylan starts to mention using the hotel as collateral for her $100,000 bail when Norma interrupts, saying that it's unnecessary. “This is just a big mistake. It’s all gonna clear itself up,” she insists.

“Given everything that happened, you don’t need any help?” Dylan raises his eyebrows, and Norman immediately looks guilty. Kid has no poker face. Norma shoots Norman a wounded look, then screams at them both to leave.

“Mom, I wanna help you. Please,” Norman repeats, but Norma refuses to look at him.

Nevertheless, Norman goes back to the motel and starts hunting for the deed. Emma walks in. She’s heard about the murder charges.

“How’d you hear already?” Norman wonders.

“Big news in a small town, Norman,” she says, and anyone who grew up in a small town is knowingly rolling their eyes right now. It doesn’t even have to be big news to make the gossip mill in a little town. I once said something private to a friend while we were out riding bikes and my mom knew about it by the time I got home. To be fair, I was probably talking too loud.

“Damn, that’s gotta suck,” Emma sympathizes, then hopefully adds, “You’re welcome to come stay with us.” Norman lets her down easy, saying thanks, but he’s got this brother, you know? Then, jackpot! He finds the deed.

Friends Don't Let Friends Bail Their Mothers Out Alone

While Dylan’s traipsing through the woods with Ethan, he casually asks if he thinks their bosses would give him an advance of, say, five grand?

Ethan laughs and shakes his head, adding, “I’ve seen what they do to people who owe them money.”

Dylan intends to use the cash on a place for himself and Norman, so this isn’t really the answer he’s hoping to hear. He shrugs it off and says he’ll figure something out on his own.

A&E/Joseph Lederer

While Dylan is trying to raise money to get out of his mother’s house, Norman is trying to raise money to get his mother back into her house. While he and Emma wait at “Jonn’s Bail Bonds” for Jonn to return, Norman decides it’s the perfect opportunity to mention that the sex slave girl is real. He mentions that he found her in a cop's basement, and Emma freaks out, immediately calling it a police conspiracy.

“You’re freaking out,” he says.

“I’m not freaking out,” she insists.

“You’re freaking out all over Italy,” is Norman's response. Is that a real phrase? I’m not familiar. He gets her to calm down by promising that they’ll help the girl, but they're not going to the authorities. His mother is in enough trouble without getting her mixed up in this as well.

His promise is enough to appease Emma. She kisses him, but he’s decidedly less enthused about her affection than he was a few episodes ago. Then Jonn shows up. Before Norman goes in to chat with the local friendly bondsman, Emma has one last question for him.

“Norman? Did she do it? I wouldn’t blame her. Keith Summers was a pig.”

Norman, of course, denies it.

Hell Hath No Fury Like Norma Bates

“It was great seeing u last nite,” Norman texts Bradley, and part of me dies a little. His weirdly proper grammar and vocabulary doesn’t transmit through his thumbs, I guess.

He immediately gets a response, but it’s not Bradley. It’s Jonn.

“Ur mom’s bail has been posted and she will be released at 9 am tomorrow morning.” Do bail bondsmen really text??

At 9 a.m., Norman is waiting at the jail with “please forgive me” flowers when Norma is released. “Brought you flowers,” he says, stating the obvious. “I got cab money.”

“You use it. I’m walking,” Norma pouts.

“Mom, c’mon.”

“Don’t you ‘mom c’mon’ me. I have nothing to say to you.”

Later, at attorney Rebecca Craig’s office, she’s still making good on that statement.

“Mother, when are you going to look at me?” Norman pleads.

She pointedly stares at him without saying a word.

Ms. Craig has barely started asking questions about the case when Norma purses her lips. Something is clearly not sitting right with her. “If you don’t mind me asking, how old are you, exactly?” Rebecca responds that she’s 33, which seems to further agitate Norma. As her lawyer tries to piece together what happened, Norma interrupts again. “It sounds like you’re trying to make up a story,” she says.

“You are charged with murder. I’m talking to you about your defense,” Rebecca responds, slightly disbelievingly.

“I don’t need a defense. I didn’t do it.”

Rebecca mentions the motel carpet fiber found under Keith Summers’ watch. “It’s hard to refute DNA evidence,” she explains.

“I don’t care. According to whom? Who’s running these tests? I wanna run my own tests,” she rants. “I’m not going to walk into a court of law and say that I did it in self defense just to make your job easier. I didn’t do it. I’m done here,” and she storms out. Vera Farmiga is very good at storming out.

“Guess we’re leaving,” Norman says sheepishly.

By the way, if I had to guess, I’d say the name “Rebecca” is a little nod to Hitchcock’s Oscar-winning film by the same name. There’s also an episode of Alfred Hitchcock Presents called “Craig’s Will,” starring Dick Van Dyke.

On the way home, Norman accuses his mother of being unreasonable.

“You do not care about me,” is her totally unreasonable response. “You went out and you got laid that night I was crying in my room worried sick about all of this, about what could happen, about me being taken away from you and put in jail. You went out and you got laid.”

Norman tears up and admits to the whole thing. Remember that poker face? Still non-existent. Norma demands to know who Norman was with, but he won’t incriminate Bradley. Stalled at that roadblock, Norma looks for somewhere else to aim her rage. She settles on berating Norman for giving Dylan details about her rape and the Summers murder. He explains that he needed someone to talk to.

“You do things that don’t make sense, mom. You scare me. I’m scared, OK? I think you might need help.”

Hell hath no fury like Norma Bates scorned by her own son. She unleashes the fury on Norman:

“I scare you? All I have ever done was try to give you a decent life. Get out of my car.”

“It’s like 10 miles to our house,” Norman protests.

“If I’m so damn scary, get the hell out of my car,” she screams.

When Norman refuses to move, she stomps over to his side of the car and physically removes him, then drives away. Resigned to the fact that he’s got a bit of a trek ahead of him, Norman starts plodding down the road. He’s at it for maybe 20 seconds when Dylan comes by on his motorcycle.

“Welcome to the doghouse,” Dylan says, and Norman hops on the back of the bike. In spite of himself, Norman really enjoys the ride. He even smiles and laughs as Dylan swerves the bike a little bit.

A&E/Joseph Lederer

Back at the house, Norman explains to Dylan that their mother is just going through a lot right now. “She’s always going through a lot,” Dylan says. “She’s like an addict. And when you have an addict in your life, the best thing you can do for them—and yourself—is to just walk away.”

Norman says he can’t just walk away; Dylan disagrees.

“Of course you do. We all do. I mean, isn’t that the point? You leave the nest.”

Norman looks skeptical, so Dylan tells him that he’s getting his own house, and he wants Norman to move in with him. We can hope, Motel guests, but you and I both know how this is going to eventually end.

Drug Trafficker With a Heart of Gold

A&E/Joseph Lederer

Ethan and Dylan are bro-ing around when Ethan tosses Dylan a bag.

“I got some food at that bagel store by Bayview. Thought you might be hungry.”

As he settles into the passenger side of Ethan’s truck, Dylan opens the bag. It’s dough, alright, but not in bagel form.

“Um... what’d you do, rob the bagel place?” Dylan asks.

“It’s my money, but I know you’re good for it,” Ethan says. It’s $5000, meant for Dylan to get that place by the ocean he’s been dreaming of.

Then one of Ethan’s “associates” stops by the truck, makes a bit of small talk through the open window, and abruptly shoots him in the neck.

After a moment of horrified shock, Dylan springs into action, giving Ethan something to keep pressure on the wound, then jumping into the driver’s seat. They get to the hospital, where the nurse asks the victim’s name as she’s loading him onto a gurney.

“Ethan,” Dylan says, but looks puzzled when they want a last name. He splits when Ethan is taken into surgery and doctors and nurses start to point at him with suspicious looks on their faces.

Evidence Tampering for Dummies

A&E/Joseph Lederer

Norma and Shelby are having one of their talks-in-the-truck. He apologizes that he had to be the one to arrest her, then says they shouldn’t see each other for a while.

“Just don’t. Stop,” she says. She’s getting ready to do one of her patented storm-offs when Shelby basically slams her against her car to stop her. He also tells her to shut up. “I love you, you idiot.” Rhett Butler, he’s not, but it must work for Norma, because she kisses him.

“I’m gonna think of something,” he promises, and he does: evidence tampering.

He goes back into the station and asks if the Sheriff is in. He’s not, so Shelby pretends to not know where some forms are. When the secretary obligingly goes to find them, Shelby unplugs the surveillance cameras, grabs keys from Romero’s desk and gets into evidence lockup. Wearing baggies over his hands, he finds the watch with the carpet fiber and takes it (we assume). Then he plugs the video monitors back in just in time to receive those forms he didn’t really need.

Meanwhile, Dylan’s driving Ethan’s bloody truck around town. For a guy who didn’t want to attract attention to himself at the hospital, driving a truck with a bloody hole blown through the window seems a little risky to me. He spots the lone gunman wandering around by the docks, and, without hesitation, runs over the guy. 

Shelby Slips

At a coffee shop, Emma is looking up “properties owned by Keith Summers” on the Internets. Through the magic of TV web browsing, she discovers that he owned a boat named “The SeaFairer.”

Also doing a little surfing? Norma. She’s checking out the Bates Motel website, which looks appropriately amateurish, when the phone rings. It’s Rebecca Craig, who tells Norma that her worries are over, because—surprise, surprise—the carpet fiber sample has gone missing. “Without that evidence, they have no case,” her lawyer says.

Inside, Norman's dialing Bradley on his phone.

“Hey, it’s Bradley,” Bradley says, and Norman says, “Oh hey!” before he finds out it’s her voicemail. Been there, done that. This is just the beginning of the babbling, though. Here’s what he leaves on her voicemail, in all of its awkward teenage glory:

“I, uh—I was just, yeah, just wondering how you were, I mean, with all of the stuff you’re going through, and I just haven’t heard. Not that I—not that I should, I mean, if you wanted to call me that’s totally fine, but it’s not like I expect to hear anything. So uh, yeah, I um, I’ve had a really good time seeing you lately. It’s been fun. Nice spending time with you. Um. I know you’re really busy and stuff, and you know, me too, I get that. You’ve got a lot of stuff going on in your life, I’m not an idiot. But yeah, call me, you know if, I hope you’re OK. Bye.”

Luckily, he has no time to overanalyze his horribly embarrassing voicemail because Norma rushes in, flush with the fact that they lost the evidence. She hugs Norman—apparently all is forgiven—but he’s confused about how evidence could just disappear.

“I’m pretty sure it was Zack,” she says.

“So Mr. Wonderful saves the day again. What’s he going to make you do for this one?” he asks, and her face falls.

Emma pulls up outside just as Norman is fleeing the house. “Just get me out of here,” he tells her. She obliges, taking him to the shore. After determining that Norman doesn’t want to talk about his home crisis, Emma launches into the latest on the sex slave situation.

“So I’m going, like, if I had an Asian sex slave, where would I hide her?” Emma says. She’s making some good points about lake houses and cabins, but Norman is distracted by his phone. Emma calls him out on it.

“Emma, I’m kind of with Bradley now,” Norman says. “With, like with, we’re together; we like each other.”

“What is this based on?” Emma asks.

“I slept with her. Two nights ago.”

Emma pauses. “That doesn’t really mean anything you know?”

“It means you hooked up.”


“It was a hookup.”

“It was more,” he insists.

“Did she change her relationship status?” she wisely asks.

Norman doesn’t respond.

“Hook up.” She wipes a tear from her cheek. Norman rolls his eyes.

“So, you were Googling something?” he says.

Emma cuts to the chase: She thinks Shelby and Keith Summers were in on the sex slave business together. “If you were in an illegal business with someone, and that person died, might you not use their property to hide something or someone? Keith Summers owned a boat.”

Our detectives head to the marina, of course. They find Keith’s slip—815, a Lost reference, Mr. Cuse?—and, perhaps using some residual Bradley anger, Emma uses her oxygen tank to break the padlock. They rummage around for a bit and come up empty-handed, until Norman opens what looks like a locker door, and a girl springs forth, screaming and kicking.

They manage to get her in Emma’s car, but by the time they get back to Bates Motel, she’s passed out in the backseat. Emma helps Norman get the girl into a room, and I have to think that the motel room where she was chained up and abused is probably one of the last places this girl wants to be, coming in only behind Shelby’s basement and a locker in a boatslip.

Norma is locking up the motel front office when she sees Emma’s car parked out front. Convinced the two of them are shacked up in a motel “getting laid,” as she would put it, Norma throws open the motel door and is stunned when she sees what’s happening.

“I want to know what the three of you are doing in the motel room, because right now it doesn’t look too good,” Norma says. Norman reminds his mom that he told her about this girl locked up in Shelby’s basement, and she accused him of lying, which she does again now. Luckily, the girl is coherent enough to back up Norman’s story.

“I’m sorry, dear, I’m sorry,” Norma shakes her head. “I’m just saying, there must be some mistake. It’s not the same man. It’s not Zack.” She runs back to the office and flips through a newspaper to find a picture of Shelby from a lumberjack competition. She takes it back to the motel room and shows the girl.

“He’s the man,” the girl confirms, twice, her eyes wide with fear.

“I’m sorry,” Norman says to his mother. “I’m sorry. I told you.”

Best Quote of the Episode:
“Well, if you can’t count on your friends to help bail your mother out of prison, then really, what good are they?” - Emma

Archive Photos/Getty Images
12 EGOT Winners (and 25 Almost-EGOTS)
Archive Photos/Getty Images
Archive Photos/Getty Images

Life should have been good for Miami Vice’s Philip Michael Thomas in 1985. He was the star of one of television’s biggest hits, had released his first album as part of a multimillion dollar deal with Atlantic Records, and was making a name for himself in the fashion world (or at least trying to) with his very own women’s clothing line. But Thomas still had loftier goals, both in mind and on the gold medallion he was so fond of wearing. That dream was an EGOT.

Though Thomas swore that the engraved letters E, G, O, and T on his prized necklace stood for energy, growth, opportunity, and talent, those around the then-36-year-old actor unanimously gave a different translation: Emmy, Grammy, Oscar, and Tony—the four awards Thomas had intended to win over the next few years. It’s now more than 30 years later and Thomas has yet to even be nominated for any one of those accolades.

While an EGOT may seem an unlikely reality for Thomas, it’s not an impossibility for all artists. If John Legend can beat out Benedict Cumberbatch to win this year's Emmy for Outstanding Lead Actor in a Limited Series or a Movie for Jesus Christ Superstar Live in Concert, he'll become the 13th member of the EGOT winners' circle—and one of its youngest. Here are the 12 current members, a couple of SHEGOTS, plus several artists who are just one award away.


Richard Rodgers
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Before there was even a name for it, American composer Richard Rodgers became the first person to EGOT (yes, the acronym can also be used as a verb) when he won an Emmy for the television documentary Winston Churchill: The Valiant Years. His Oscar came in 1945, when his “It Might as Well Be Spring” from State Fair was named Best Song. He earned Grammys in both 1960 and 1962, for the original cast recordings of The Sound of Music and No Strings, respectively. Between 1950 and 1962, he won six Tony Awards, three of them in that first year for South Pacific. The same year, South Pacific also earned Rodgers a Pulitzer Prize for Drama, which we guess makes him a PEGOT.


Helen Hayes
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In 1977, 15 years after Rodgers inaugurated the honor, actress Helen Hayes joined him as the first female EGOT—an honor that took her 45 years to achieve, the longest of any of her EGOT peers. Her road began in 1932, when she won the Oscar for The Sin of Madelon Claudet (she won a second Oscar for 1970’s Airport). Her first Tony came in 1947, for Happy Birthday, followed by another in 1958 for Time Remembered. And she won a Best Actress Emmy in 1953 for an episode of Schlitz Playhouse of Stars. But it would take more than two decades for her to nab that elusive second letter, which she did for Best Spoken Word Recording for Great American Documents.


Rita Moreno
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Seven months after Hayes earned her EGOT, actress Rita Moreno did the same when she won her first of two consecutive Emmys for a guest spot on The Muppet Show in 1977 (the following year she won one for an appearance on The Rockford Files). But Moreno did it in about a third the time of Hayes, 16 years, which was an EGOT record until Lopez smashed it last night. Her Oscar came in 1961 as Best Supporting Actress in West Side Story, followed by a Best Recording for Children Grammy in 1972, for The Electric Company. In 1975, Moreno nabbed a Tony playing Googie Gomez in Terrence McNally’s The Ritz, a role she reprised in the 1976 big-screen version.


John Gielgud
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Unlike his three predecessors, the Oscar wasn’t the first award John Gielgud won to earn his EGOT. Instead it was the Tony, which he first won in 1948 for The Importance of Being Earnest. He won a second Tony in 1961, as the director of Big Fish, Little Fish. Next came the Grammy, in 1979, for his dramatic recording of Ages of Man. In 1981, Gielgud took home the Best Supporting Actor Oscar for his iconic role as Dudley Moore’s butler/sidekick in Arthur. And when he won the Emmy in 1991, for Outstanding Lead Actor in Summer’s Lease, he was 87 years old, making him the oldest EGOT-getter.


Audrey Hepburn
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Unfortunately, Audrey Hepburn didn’t live long enough to enjoy her EGOT. Two of her awards—her 1994 Grammy for the children’s album Audrey Hepburn’s Enchanted Tales and her 1993 Emmy for the informational Gardens of the World with Audrey Hepburn—were awarded after her passing on January 20, 1993, which made her the first posthumous EGOT recipient. She did, however, have the chance to bask in the glow of her 1953 Oscar for Roman Holiday, and a Tony for Ondine one year later.


Marvin Hamlisch
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There’s a distinctively heavy emphasis on the “O” in composer Marvin Hamlisch’s EGOT, as he is the most Academy Award-winning of the bunch, with a total of three. All of them were awarded in 1973—two for The Way We Were and one for his score for The Sting. It was “The Way We Were” that earned him his first of four Grammys, too, in 1974. His collaboration with Barbra Streisand continued, and earned him two Emmys in 1995, for Barbra: The Concert. Hamlisch’s Tony came in 1976 for A Chorus Line, the musical that also got him a Pulitzer Prize, making him the only other PEGOT on this list.


Jonathan Tunick
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Composer/conductor Jonathan Tunick’s path to EGOT glory was a straight shot over the course of 20 years: In 1977 he won an Oscar for A Little Night Music, followed by an Emmy for Music Direction in 1982 for Night of 100 Stars, a 1988 Grammy for Best Instrumental Arrangement for Cleo Laine’s “No One is Alone,” and, finally, a 1997 Tony for Best Orchestrations for Titanic.


Mel Brooks
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Yes, Mel Brooks can do it all. In June of 2001 he became the world’s eighth EGOT winner, just a few weeks shy of his 75th birthday, when he earned three Tony Awards—for Best Musical, Best Original Score, and Best Book of a Musical—for The Producers. It was The Producers that brought Brooks his Oscar as well, for Best Original Screenplay (albeit 33 years earlier). Brooks’s first award came in 1967, when he won the Emmy for writing The Sid Caesar, Imogene Coca, Carl Reiner, Howard Morris Special. Beginning in 1997, he won three consecutive Emmys, this time as a guest actor on the sitcom Mad About You. It was during that same period that he also won his first of three Grammys, in 1998 for Best Spoken Comedy Album for The 2000 Year Old Man in the Year 2000. In a 2013 NPR interview, Brooks mentioned this crowning achievement, saying, “I'm an EGOT, so I don't need any more [awards].”


Mike Nichols
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Mike Nichols earned his EGOT in the same year as Mel Brooks, though it took him a full 40 years to get there (versus Brooks’s 34). The late comedian-turned-director’s path began with a 1961 Best Comedy Performance Grammy for An Evening With Mike Nichols And Elaine May. In 1964, he won his first of nine Tony Awards for Barefoot in the Park (his second came a year later for The Odd Couple). In 1967 he was named Best Director at the Oscars for The Graduate. And in 2001 he won his first two of four Emmys—for Outstanding Directing and Outstanding Made for Television Movie—for Wit.


Whoopi Goldberg
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If Philip Michael Thomas invented the idea of the EGOT, Tracy Morgan—as Tracy Jordan—brought the phrase back into popular use on 30 Rock, when he set the same goal and even wore the necklace. And they even got real-life EGOT winner Whoopi Goldberg to play along and poke fun at the debate over whether she should truly be included as her Emmy is a Daytime one. (“It still counts,” she told Tracy. “Girl’s gotta eat!”) Goldberg's first award was a 1985 Grammy for Best Comedy Recording of Whoopi Goldberg—Original Broadway Show Recording. Next came a 1990 Best Supporting Actress Oscar for Ghost. In 2002 she got her E and T: an Emmy for hosting Beyond Tara: The Extraordinary Life of Hattie McDaniel and a Tony as co-producer of Thoroughly Modern Millie, which won Best Musical.


Scott Rudin
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Scott Rudin is the first producer to EGOT. He earned his gold medallion in 2012 when The Book of Mormon: Original Broadway Cast Recording earned a Grammy for Best Musical Theater Album (an award Rudin shares with fellow EGOT Robert Lopez). Rudin’s first award—an Emmy—came in 1984, for the kid’s show He Makes Me Feel Like Dancin’. He earned his first of 15 Tony Awards in 1994 for Passion, and his most recent in 2017 for Hello, Dolly!. While Rudin is probably best known as a film producer, he’s only got one Oscar to his credit, a 2007 Best Picture statue for the Coen brothers’ No Country for Old Men.


Robert Lopez
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In 2014, songwriter Robert Lopez became the newest EGOT when he and his wife, Kristen Anderson-Lopez, took home the Oscar for Best Original Song for Frozen’s “Let It Go.” (The pair won a second statuette earlier this year for the song "Remember Me" from Coco.) In addition to being the newest member of the EGOT winners' circle, he is also the youngest member of the club (he's 43 years old now, but had just turned 39 when he was "inducted.") Lopez is also the fastest artist to achieve the honor, taking just 10 years to earn all four awards, beginning with a 2004 Tony Award for Best Score for Avenue Q, followed by two Daytime Emmys in 2008 and 2010 for Outstanding Achievement in Music Direction and Composition for Wonder Pets. In 2012, Lopez and Rudin shared the Grammy for The Book of Mormon, making them the first pair of EGOTs to have a shared award get them into the circle.


Though the official number of EGOT winners is 12, it’s worth noting that there are a handful of other rather famous faces who have also earned all four awards ... but because at least one of them is a special or honorary award only—not a competitive one—their inclusion in the official club is questionable. Let’s call them SHEGOTs?


Terry Fincher, Express/Getty Images

Amazingly, the only Tony Award that Barbra Steisand has on her mantel is a non-competitive one; in 1970, she was named Star of the Decade.


Performer Liza Minnelli
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Liza Minnelli may have been handed a Grammy Legend Award in 1990—but this legend has no competitive Grammy to speak (or sing) of.


James Earl Jones accepts the Special Tony Award for Lifetime Achievement in the Theatre onstage during the 2017 Tony Awards at Radio City Music Hall on June 11, 2017 in New York City
Theo Wargo, Getty Images for Tony Awards Productions

Though he's been a Hollywood icon for decades, James Earl Jones's only Oscar win was an honorary one in 2012. He did receive a Best Actor nomination in 1971 for The Great White Hope, but lost out to George C. Scott for Patton. (It's worth noting that Scott had alerted the Academy ahead of time that he refused the nomination, so it was hardly surprising that he wasn't there to accept the actual award.)


Johnny Mercer Award Honoree Alan Menken performs onstage at the Songwriters Hall Of Fame 48th Annual Induction and Awards at New York Marriott Marquis Hotel on June 15, 2017 in New York City
Larry Busacca, Getty Images for Songwriters Hall Of Fame

Composer/songwriter Alan Menken won the Tony for Best Original Score for the Broadway version of Newsies in 2012, but his 1990 Emmy for his contribution to "Wonderful Ways to Say No," an anti-drug cartoon special, was an honorary one—leaving him one official award short of an EGOT.


Harry Belafonte attends the 2016 Library Lions Gala at New York Public Library - Stephen A Schwartzman Building on November 7, 2016 in New York City
Theo Wargo, Getty Images

In 2014, Harry Belafonte was awarded the Academy's Jean Hersholt Humanitarian Award—putting him in the elite class of a half-dozen (SH)EGOTs.


Music producer Quincy Jones attends Spotify's Inaugural Secret Genius Awards hosted by Lizzo at Vibiana on November 1, 2017 in Los Angeles, California
Matt Winkelmeyer, Getty Images for Spotify

Music producer Quincy Jones may be one of the world's most award-winning artists, but a competitive Oscar has so far eluded him. Like Belafonte, the only Academy Award he has won is the Jean Hersholt Humanitarian Award (which he received in 1994). Beyond that, he is a seven-time Oscar nominee.


While there are are a number of artists who came close to EGOT'ing during their lifetimes—including Robin Williams (who was short a Tony), Jessica Tandy (she was missing a Grammy), Henry Fonda (who was minus an Emmy), and Leonard Bernstein (who never won an Oscar)—the EGOT dream is still alive for dozens of artists.


If John Legend wins an Emmy this year, he'll become the 13th official member of the EGOT winners' circle.


It's hard to believe that Julie Andrews has yet to win a Tony Award (though she's been nominated for three). If and when she does, she can add EGOT to her resume.


Like Legend, Andrew Lloyd Webber and Tim Rice are just an Emmy short of an EGOT—which could change this year.


The Hamilton creator came so close to EGOT'ing last year. But something tells us it won't be long before he's inducted into this elite group of artists.


He may be one of the world's most acclaimed filmmakers, but it took him more than a quarter-century to earn his first (and so far only) Oscar. Hopefully a Tony will be next.


Just below the EGOT, there's what is known as the Triple Crown of Acting: a performer who has won an Oscar, Emmy, and a Tony (but is missing a Grammy). Frances McDormand is among that group.


Like McDormand, Viola Davis is part of the Triple Crown club.


It took 20 years and 16 nominations, but Randy Newman finally became an Oscar winner in 2002 when he won the award for Best Original Song for "If I Didn't Have You" from Monsters, Inc. He still needs a Tony though.


He's one of the most celebrated actors alive, but Al Pacino is no Grammy winner.


The iconic composer may hold the record for the most Oscar nominations for a living person, but John Williams has yet to receive a single Tony Award nomination.

12. CHER

The iconic singer is one Tony Award short of an EGOT.


The "Rocket Man" singer is one Emmy Award away from an EGOT.


Dame Maggie Smith may not have a Grammy Award, but she's a Triple Crown-winning actor who has earned the right to be addressed as "Dame."


Rapper/poet/singer/producer Common only needs a Tony Award to complete his EGOT.


Longtime producing partners Ron Howard and Brian Grazer have seemingly conquered every medium, but neither one has yet to win a Tony (though Grazer has come closer; he was nominated in 2008).


The South Park creators are just an Oscar short of the EGOT goalpost.

15 Proper Facts About Downton Abbey

Like Upstairs, Downstairs for the Twitter generation, Downton Abbey brought a bit of British history into the homes of millions of viewers for six seasons, and reinvigorated interest in 20th-century propriety. Though the series ended its small-screen run in March 2016, it's still garnering a lot of buzz thanks to repeated viewings on PBS and today's official announcement that the Crawley family will be making its way back into viewer's lives via a new movie featuring the original cast.

“When the television series drew to a close it was our dream to bring the millions of global fans a movie and now, after getting many stars aligned, we are shortly to go into production," producer Gareth Neame said of the upcoming film, which was written by original creator Julian Fellowes and will begin production this summer. "Julian’s script charms, thrills and entertains and in Brian Percival’s hands we aim to deliver everything that one would hope for as Downton comes to the big screen."

Though fans will likely need to wait until 2019 to see the big-screen version, here are 15 fascinating facts about the lords and ladies of Downton Abbey to tide you over.


In developing the structure for Downton Abbey, creator Julian Fellowes found inspiration in some unexpected places. “Constructing Downton, I was consciously thinking in terms of those American structures,” Fellowes said in Rebecca Eaton’s book, Making Masterpiece: 25 Years Behind the Scenes at Sherlock, Downton Abbey, Prime Suspect, Cranford, Upstairs Downstairs, and Other Great Shows. “I had liked E.R. There was something called Chicago Hope that I liked very much, and thirtysomething, with all these stories going at once.”


When asked to sum up the series’ appeal at a party for Downton Abbey’s third season premiere, star Hugh Bonneville (Robert Crawley) joked that, “It’s Breaking Bad with tea instead of meth.”


While promoting her role in Masterpiece’s 2012 version of Great Expectations, The X-Files star Gillian Anderson expressed her hope that, “people will embrace [Great Expectations] with the same love that flowed toward Downton Abbey," then shared that she was offered the role of Cora Crawley.


Elizabeth McGovern and Hugh Bonneville in 'Downton Abbey'

On screen, that is. The actors played husband and wife on the 2008 BBC series Freezing.


Some critics of the show have questioned Fellowes’s motive in developing a British series around an American character, with some assuming it was a strategic creative move in order to attract American audiences. “We weren’t thinking in those terms about foreign sales,” Fellowes told the Independent. “The advantage for me of having the American wife was it gave me a central character who was not dyed in the wool of the upper middle class upbringing, so you could have one of the principal characters who didn’t take all that stuff for granted, and questioned it, as Cora did. She was not consciously written for America. The fact that we would have a central character for American sales was much more clever than we were really.”


The cast of 'Downton Abbey'

Much of the series is filmed at Highclere Castle, an estate in Hampshire, England that is home to the Earl and Countess of Carnarvon. In addition to being open to the public, the home can be rented for weddings and parties and occasionally operates as a hotel. In addition to its iconic exterior, the library, dining room, drawing room, and grand hallway seen in Downton Abbey belong to the real-life Highclere Castle.


Because the servants’ quarters at Highclere Castle have been modernized, the series' downstairs kitchen and attic living quarters were built at London’s Ealing Studios. Which means that the show’s producers needed to pay particularly close attention to continuity. “For example,” explained The World of Downton Abbey author (and niece of the show’s creator) Jessica Fellowes, “Thomas might be filmed leaving the kitchen with a plate of food for upstairs and would then appear two weeks later in the dining room!”


In 2010, composer Andrew Lloyd Webber (who lives in a neighboring estate) made an offer to purchase Highclere Castle, apparently as a home for his art collection. The Carnarvons kindly let Webber know that the property was not for sale. “I think it has more to do to Andrew Lloyd Webber’s desire to hang his art collection somewhere,” Lady Carnarvon told the Los Angeles Times. “Maybe it might help with his estate duties. He was not a friend and, therefore, might not be aware of our own art collection.” FYI: The estate is valued at approximately $240 million.


During season two, Downton Abbey was turned into a convalescent home for soldiers. In real life, during World War I, the 5th Countess of Carnarvon did turn Highclere Castle into a recovery hospital for soldiers.


Given the show’s strict attention to detail and authenticity, it’s probably unsurprising that it was an expensive series to shoot. According to The World of Downton Abbey, each episode costs about £1 million (or about $1.5 million) to produce.


Lesley Nicol, Sophie McShera, and Jessica Brown Findlay in 'Downton Abbey'

In keeping with the show’s dedication to authenticity, the producers maintained a “no-wash” policy with some of its costumes in order to keep within the period look. “We do stink, as they don’t wash our costumes,” Sophie McShera (who played kitchen maid-turned-assistant cook Daisy) told The Daily Mail. “They have these weird patches, which are sewn into the armpits and which they wash separately.”


“Nobody in their right mind could have predicted what happened, when it sort of went viral,” Julian Fellowes told The New York Times in 2013 of Downton Abbey's unprecedented popularity. It’s estimated that more than 120 million people around the world have watched the series at one point. The show was broadcast in 250 territories worldwide, and became a major hit in Russia, South Korea, and the Middle East.


One of the show’s most beloved stars was its faithful pooch, Isis, who passed away in season five. Though many thought the Labrador got the boot because of her name, star Hugh Bonneville set the record straight on that matter. “To clarify recent speculation, the Labrador that appeared in Series One (1912-14) was a dog called Pharaoh,” wrote Bonneville. “From Series Two (1916-1920) onwards, the Labrador has been a bitch named—in keeping with the Egyptian theme—Isis. Anyone who genuinely believes the Series 5 storyline (1924) involving the animal was a reaction to recent world news is a complete berk.”

The “Egyptian theme” that Bonneville refers to is a nod to George Herbert, the 5th Earl of Carnarvon, who was one of the individuals who discovered King Tut’s tomb.


Maggie Smith in 'Downton Abbey'

With a total of 69 nominations and 15 wins, Downton Abbey is the most nominated non-U.S. series in Emmy history.


Among the show’s many famous fans are several members of the British royal family, including Queen Elizabeth, who “loves to pick out the mistakes,” said At Home with the Queen author Brian Hoey. “They do tend to get it right. However, the Queen did notice on one episode that there was a young so-called British officer wearing medals which had not been awarded when he was supposed to be alive. He was fighting in the First World War and the medals on his chest did not come in until the Second World War.”


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