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No discussion of cinema’s dark take on mothers and sons is complete without Alfred Hitchcock’s Psycho (1960). Though Norma Bates is physically dead for the duration of the film, her psychological presence is absolute. Norman Bates internalizes his mother's puritanical, controlling voice to the point where he adopts her persona to commit murder. Psycho established a cinematic trope of the "devouring mother"—a maternal figure whose inability to let her son grow results in madness and violence.

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A decade later, David O. Russell’s The Fighter (2010) offered a gritty, blue-collar counterpoint. Alice Ward (Melissa Leo) is the mother of boxer Micky Ward (Mark Wahlberg) and his crack-addicted half-brother, Dicky. Here, the mother-son relationship is tangled in class, addiction, and misplaced loyalty. Alice’s "love" manifests as controlling his career, favoring the charismatic failure (Dicky) over the quiet success (Micky). The film’s emotional climax occurs when Micky finally fires his mother as his manager. It is a brutal, necessary act of severance. Unlike Psycho , where separation ends in death, The Fighter argues that a healthy mother-son relationship requires the son to establish hard boundaries. Micky can love his mother, but he cannot be her project. Psycho established a cinematic trope of the "devouring