Milburn Stone

I'm so glad you didn't name Images. If you had, I would have been obliged to give it a second look, and I don't want to. I think I've only seen 5 minutes of Popeye, and reached the conclusion "too weird for it's own good," but I'll have to consider giving it a shot. All your others, I'm in complete agreement with, and I also liked California Split at the time.

That is to be lamented. He had a juicy and prominent role as the baddie in one of the seasons of Damages (the great Glenn Close lawyer TV series) but nothing else pops into my mind at this hour of the morning.

It reminded us of The Lost Flowers of Alice Hart (the Sigourney Weaver vehicle that took place in Australia).

For some reason that version resonated with me. I don't know if it would today. But maybe.

My eye sees the same logic error that yours does. No doubt Zaslov fired the manager-level editor who could have cleaned it up.

I think it's not just a matter of "things were different then." The movies have always sold an idealized version of love, and we have always eagerly eaten it up, because we want so badly to believe. The idealized version of love that the movies are selling now is different in some particulars, is all.

Me too, including coming out of my own mouth. Now I'm self-conscious. Maybe I'll start saying zo-ology. (But then people will silently think, "Oh, look at him, Mr. Zo-ology!")

I forgot Pasternak did WtBA. I was basing my guess on the panoply of musical acts, and in particular the inclusion of the arguably mid-high-brow Liberace. Pasternak was famous for force feeding a little "culture" to the masses, with such as Jose Iturbi and Lauritz Melchior turning up out of nowhere (and sometimes getting roles in the plot). (And before them, making a star of Deanna Durbin.) BTW, the IMDB on Sam Katzman credits him with inventing the word "beatnik."

I watched the trailer (thanks, @EtheltoTillie), and I'm not gonna look it up on the IMDB 'cause that would be cheating, but this has all the earmarks of a Joe Pasternak production. Am I right?

All Liberty commercials are the devil's spawn.

I think if the kid starts throwing money around town, it'll make Tosh want to know where he got it. And since Bobby knows it was stolen money to begin with, that's not great for Bobby. So they could charge him with that, but I think they wouldn't.

🤮

I predicted that would happen in the season finale! Yay me! One week ago I wrote how I was starting to miss Jimmy again. Now I'm not. This episode was fantastic. The ending, with Ruth walking contented through Lerwick (as contented as Ruth can get, at least), could be a decent series finale, but like you, I really hope it was a season finale.

I want that to be a TV series where people can't understand each other.

I say them the same, and am curious how else to say whine. My guess is, whine would be pronounced with a soft exhalation of breath through a small round mouth on the "wh"?

You're not far wrong. Elaine had Jeannie at 17, so that's the difference in their ages.

It's her daughter, Jeannie Berlin.

I guess he feels like he's on thin ice, having been sidelined (without pay?) by Jimmy for whatever that infraction was. Maybe he feels he's lucky to be back at work at all?

If this thread had a clubhouse, that would be on the wall.

I do miss the "gravitas" of Jimmy. I don't mean just his seriousness, I mean his dramatic weight, his magnetic pull. It really anchored the show. Ruth doesn't quite provide that, and Tosh sure doesn't. It may be all due to Tosh's tentativeness in her new role. (Which I admit, does get less and less with each episode.) I'm sure the final episode of the season will see her introducing herself as DI, without the temporary. Maybe in the season after this one, she'll have that gravitas that Jimmy provided. In the meantime, I'm enjoying this season for what it is.

With a show this popular, especially in Britain as I understand it, what explains why it's taken so long for there to be a S7? (Assuming there is ever going to be one.) Non-rhetorical question. I'm not fulminating. I expect there are answers to this question, and maybe someone here knows them.

I've always been CRAZY about her singing of "Palsy Walsy" in They Got Me Covered. Crazy in a good way. And when I was a kid, her voice on the 78, singing "Who" in The Male Animal, stirred feelings in a very young male animal.

I really liked it. As moviemaking, it found a new way to do the "biopic." So much so, that it hardly even belongs in the genre. It only took me about five minutes to believe Bradley Cooper was Bernstein. Even though the movie was more focused on Bernstein's personal life inside and outside of marriage than on his career, I felt it did a more than adequate job of linking his personal life to his music. I'm not in general one of those who say "look at what the movie chose to do rather than what it didn't," because so often that can be an excuse for a movie that botches even what it chose to do. In this case, what Maestro chose to do--examine the music through the lens of the personal life--I felt to be persuasive.

What happened to the posts after December 14 in the Shetland topic? I could swear there were some.

All is lost!