Naturally, we then meet our officers of the law: Duncan, a young sergeant vying to further establish himself in the force, and Wolfson, a seasoned veteran who is just about to end his run as lieutenant. Ironically, the man, who from the opening scene is leisurely dictating expert counsel to his secretary for his loyal fans, soon finds himself devoured by his own emotions and commits a heinous crime of passion (Well, he IS cutting up female paper dolls in that scene). Seems he’s got it made, but that’s not where our writers intended to keep him. He resides in a swanky Art Deco-inspired penthouse on New York City’s famous Park Avenue with his sharp-witted and beautiful, full-bodied wife, Louise. Meet John Chambers, advice columnist known to his many troubled and lovelorn readers under the pseudonym “Uncle George”. Astonishingly, all of this is well coordinated into just one finely written hour. It may seem more efficient to break out your limited edition collector’s set for North by Northwest or Psycho, but hear me out: you have your unfettered, metallic-tongued platinum-blonde female lead, the innocent man accused of a crime, and in case you’re missing the kitchen sink, there’s even a charming duo of fairly incompetent police officers who can’t be bothered to follow up on fingerprint checking after a particularly suspicious murder has taken place. When you’re seeking a hare-footed, basic rendering of something truly Hitchcockian, be it for personal reference or for showing some noir novice a thing or two, do try consulting your “Dear Uncle George”. In “Dear Uncle George”, episode thirty in season one, we are afforded the treat of multiple Hitchcockian watermarks…but as has always been the case, blood is much thicker than water. It is well known to authoritative fans and casual watchers alike, that Alfred Hitchcock was a singularly identifiable artist, in physique as well as technique and signature archetypes. Teleplay by - James Bridges, William Link, and Richard Levinson
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