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Milburn Stone

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  1. S04.E09 Episode 9

    That's where I am. @DakotaLavender, I'm surprised you write that "the death of Alison has yet to be solved," because you make a very convincing case in your first paragraph that it has been! The competence and thoroughness of the detective (which were established in Season 1), combined with his firm conviction about cause of death, combined with (as you say) the complete lack of evidence in Alison's apartment of a murder, all point to suicide. The show has established that when an emotional state is disturbed enough, a "POV" can go beyond normal subjectivity to include completely delusional material. Noah's imagining of the knife attack upon him, followed by his visions of being stalked by the prison guard, showed us this. If anything, Alison's mental state of late has been more fragile than Noah's was.
  2. It is a scourge! I find myself hoping for small favors--like, was the subject of the sentence at least a compound subject, as in "Mary and me went to the store"? That would be completely inexcusable, but not quite as offensive to the ear as "Me went to the store."
  3. S04.E09 Episode 9

    When you say "kill herself and blame it on him," do you mean in the sense of concocting a fantasy for herself that absolves herself of responsibility? Or do you mean in the sense of framing him for her "murder"? I like the grisly film noir aspects of that idea, even though I can't figure out how she'd pull it off.
  4. S04.E02: Breathe

    Do we know why Gus appears to want Hector to recover? It would seem he's the one funding the doctor from Johns Hopkins. I think I'm not getting something. Someone remind me. How did Mike get together with Lydia in the first place? Is it something Gus engineered? Do either Mike or Lydia know at this point exactly what they're expected to do as regards the other?
  5. S04.E09 Episode 9

    Yes, and to be fair, every other event on this and every other show is partly a function of the real world demands placed on a production by budget, location availability, actor availability, et. al. It's how the show runners respond to those ever-present real world realities that matters.
  6. S04.E09 Episode 9

    They could join forces with the cast of Search Party.
  7. S04.E09 Episode 9

    That was me. :) I'm very glad my insight led to your insight, because your insight was really...insightful.
  8. S04.E09 Episode 9

    I'm very sorry to hear about the parallels between your life and Alison's, @anonymiss, but I want to address your last phrase, "like Alison had to for the sake of the contract disputes doing her in." It's true Alison wouldn't be dead now if Ruth Wilson didn't want out. But this was such a brilliant way to bring Alison's story to a close that I can't bring myself to see it as being merely dictated by necessity. Sarah Treem deserves more credit than that. It's been said that all art arises from limitations. Another way of saying it is that all art arises from the necessity to solve problems. Ruth Wilson's leaving was a problem that Sarah Treem solved brilliantly, so much so that it's the ending for Alison that always should have been in the grand design even if it wasn't. (It occurs to me that one possibility is that it always was in the grand design, but intended for the end of season 5 instead of season 4, and they just accelerated the timetable.) If Ruth Wilson's leaving was the reason this episode happened, I still can't look at this episode as expedient; I can only see it as inspired. Also want to thank @Pallas and @Bitsy for your brilliant (and persuasive) analyses.
  9. S04.E09 Episode 9

    It might be something like that--because it doesn't make sense that Alison fantasized it before reality-Ben showed up. The reason it doesn't make sense is that in Part 1, the fantasy, Alison hears the story of how Ben killed the boy who had the unloaded grenade gun. A somewhat different version than in Part 2, but nevertheless basically that story. That's way too specific and unusual a story for her to have made up in a fantasy, when it turns out that something much like it actually did happen--unless she already knew that it happened, because reality-Ben had told her. She then created a fantasy around it (in her half-dead or all-dead state) that put it into a context she greatly preferred. That's the only way I can make sense of it.
  10. Right on. And even more than the Emmys, the Academy Awards have always been a symbol of the highest achievement. Over the years they've even worked their way into the language. Just one example: When someone we know acts out in some way in daily life, we may remark with sarcasm, "Wow, you should get an Academy Award." We don't say "You should get a Golden Globe" or "You should get a People's Choice Award." Just imagining those alternatives we can see how absurd they would be. There's a reason we choose to say Academy Award. It occupies a special place in our daily lexicon as a signifier of excellence (whether we mean it sarcastically or sincerely in a given situation). Now, among the winners of Academy Awards over the years, there have been some real head-scratchers. We know that. But even this hasn't tarnished the position of the Oscar in our minds as the pinnacle of reward and recognition, because we understand what it aspirationally represents. AMPAS seems intent on flushing all that down the toilet.
  11. The supposedly rising star of the Democratic Party didn't fill me with confidence.
  12. That could be the definition, and it's fraught with problems if so. For starters: What do you do with the movie of unquestioned artistic ambition and accomplishment which goes on to make over $100 million? Is it no longer eligible for Best Picture because now it must be put in the "Best Popular Picture" silo? As for the traditional Best Picture category, is the definition of that category going forward to be "Best Picture That Didn't Make Money"? In both cases, the honor is diminished.
  13. Favorite Commercials

    I know it comes as a shock.
  14. Favorite Commercials

    Re this commercial: The announcer goes "as long as people talk too loudly on the phone, you can count on Geico saving folks money." Why do I have a feeling the original script read "as long as people use their phones in theaters, you can count on Geico saving folks money"--and this line was revised when it was realized that the target market uses their phones in theaters?
  15. S04.E08: Episode 08

    I think it was Anton's father. To make him miss his interview.