Hitchcock's Subtextual Coding in 'Rope'
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

Aside from giving lame excuse after lame excuse for not doing something, or for having done something bad, most Halfway House residents biggest problem is doing something so half-assed that they might as well have not done it. For example, common chores like cleaning, attending and participating in AA and NA meetings, following simple rules, commands, and instructions. The thing that flabbergasts the House Managers is that when confronted about their lazy, sullen, idiotic dereliction of duty, they whine – they give this or that reason why they couldn’t do a simple task, or follow an easy instruction. Well, one of our mottos here at the House is “Don’t Cry, Just Try.” Of course these dolts usually don’t try, so we resort to extreme methods to knock some sense into their pea-brains.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
"Be good. It doesn’t mean you can’t be tough. It doesn’t mean you always have to be nice. Just be good."
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
Falling in love with 'Rocketman" all over again.
“I’m always interested in exploring female fantasy, and the sexy witch is a loaded archetype that is simultaneously about men’s fears and fantasies about women, and women’s feelings of empowerment and agency. So whereas we are used to seeing the sexy witch or the femme fatale from the outside, I wanted to explore her from the inside.” - Anna Biller, on why she made The Love Witch
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.