Milburn Stone

Love is complicated. BTW, I think it was Rinaldo who mentioned that one response (among many possible) is to not watch a movie anymore. That resonated with me, because it's how I now feel about Gone With the Wind.

I agree with @wilsie, @Rinaldo. I would be surprised if anyone on this forum wished you to post less often, or at less length. I see from your reply that our disagreement stems from different interpretations of Julie's line. I do see now how it echoes his line in "If I Loved You" (thank you for that; I never made the connection before, or if I did, I don't remember doing so) but I don't see Julie's Act 2 line as "making excuses" for Billy, or for that matter as Julie being gaslit into believing that it's OK or that she deserves to be hit. I have always seen it as an expression of Julie's

I actually do think that Michael's fixation with Ryan was a sex thing, but Michael, being so out of touch with everything including himself, doesn't acknowledge his homoerotic longings. His cluelessness knows no limits, external--or internal.

Off the top of my head I'm not coming up with the part of "If I Loved You" that underscores "being hit can feel like a kiss," but I know you have something in mind, and If you can refresh my memory I'll appreciate it. I find it regrettable that the line is sometimes cut. I am 100% capable of putting myself in the time of the show (I mean 1945, not the historical period depicted) when that line was rich with emotional meaning and didn't offend audiences. Hammerstein wouldn't have written it--and multiple other creative artists involved in the original production wouldn't have allowed it to

I can. I find the show tremendously moving; a good production reduces me to sobs. Is Billy supposed to be "likable"? No. But he is not beyond redemption. And neither is Louise. For me, the worst thing about Carousel is Hammerstein writing "steal it or take it."

Yes, for some reason it wasn't available on iTunes last night (a full day after broadcast). Wonder if it's there now.

This makes me realize that if Martin and Short were younger, there would totally have been an actual Only Murders in the Building podcast coinciding with and promoting the show. I'll bet somebody ran that idea past them and they said, great idea, but nah, we have other things we'd like to do in the time remaining.

Amy Ryan is a fine actress, but "nice" (IMO) is not one of the things she does well. I never bought her in The Office; she was almost a dealbreaker for me in that show, because her portrayal of Holly Flax had no there there. I'm glad Jan turned out to be batshit crazy evil, just to give AR something in her wheelhouse.

I hear you. I don't mind her, but it would be refreshing to see her play someone other than "Jane Lynch" (Trademark, Patent Pending). Long long ago in a galaxy far far away, I think I recall seeing her be someone else. Of course, they hire her these days to bring the shtick. A girl's gotta make a living.

Just as it's hard not to imagine Norman Bates when seeing Tony Perkins, it's hard to imagine anyone but Tony Perkins playing Norman Bates.

I appreciate any attempt at unraveling this, but: The stabbed body--why do you think the deceased didn't ingest poison before being stabbed? Perry Mason (OG version) frequently used the device of the defendant who only thought she murdered the victim, later to have the truth come out that the victim was already dead--or died later--at someone else's hand. Whoever believes they murdered Tim Kono might be wrong! They might have assaulted him in some fashion but not been responsible for the cause of death. Or it might be a combination of an attempted homicide (that was not effective) wi

Bill is not the only one to talk about a slow moving coup. But he is, to my knowledge, the first to bring it alive with a story that puts us right in the middle of a present and future dystopia. I've seen or read all the other slow moving coup analyses. This was the first time I felt truly shaken, as if it was really happening. There's a big difference between that reaction and "slow moving coup, yeah, that's true, I get it, yada yada yada, what else is new." Telling it as a story was a brilliant idea, which worked as intended.

FWIW, I didn't realize it was Mira Sorvino until after the episode, and I thought she was fantastic. Like, better than just good enough. Fierce, magnetic, and totally believable. When I discovered it was Sorvino, I thought, "Welcome back."

It really was. Among other things, it caused me to consider whether Colin Hanks has turned into a better actor than his father. And Fred Melamed can do no wrong. Looks like he's lost a little weight, which I'm glad about.

Everyone in the building killed Tim Kono!