Utilizing Richard Feynman's simplicity Miss Farrell's 3rd grade school student rather brilliantly poses the perception question which everyone should consider about everything. The color and the frequency 450 nanometers to 485 nanometers, is perceived differently by everyone. Colorists are trained to recognize panel samples and refer to them in a uniform language. Therefore the assumption everyone sees the same thing. Slightly off topic is the fact when a rainbow appears, everybody sees a different one.
This episode has so many references to "blue" integrating them is task for a literary expert, a group not inclusive of me. The mood blue could describe Rebecca Pryce and her dress when bemoaning NYC is not London. Not exactly news on either side of the Atlantic as emphasized by Magnum's J. Q. Higgins longing for High Tea and, no doubt, Cricket.
Paul was probably listening to Bill Evans' Blue In Green from Miles Davis' Kind of Blue although difficult to discern from the partial bar audible to me. The music augured Paul's forgetting his terrific idea of the previous night.
Don was wearing his blue robe when accessing his locked desk drawer containing key documentation to his past as Dick Whitman. His attention was distracted away from his desk, remembering to lock the drawer but not removing the keys from the robe. Betty finds them and uncovers Don's deepest secrets.
She confronts him with a prosecutor's precision eliciting admission, tears and 10 to 15 seconds of the finest silent acting since Steve McQueen and Yul Brenner loaded up before reining the horses to pull the hearse up to "Boot Hill" early in The Magnificent Seven. Facial expressions by both Jon Hamm and January Jones were worthy of a classical portraitist. The session proves to be the final straw, sucking the remaining portion of love for Don from her. Needless to say both feel moods of blue. There's probably a more elegant way of writing the above and honest criticism is welcome.
This episode has so many references to "blue" integrating them is task for a literary expert, a group not inclusive of me. The mood blue could describe Rebecca Pryce and her dress when bemoaning NYC is not London. Not exactly news on either side of the Atlantic as emphasized by Magnum's J. Q. Higgins longing for High Tea and, no doubt, Cricket.
Paul was probably listening to Bill Evans' Blue In Green from Miles Davis' Kind of Blue although difficult to discern from the partial bar audible to me. The music augured Paul's forgetting his terrific idea of the previous night.
Don was wearing his blue robe when accessing his locked desk drawer containing key documentation to his past as Dick Whitman. His attention was distracted away from his desk, remembering to lock the drawer but not removing the keys from the robe. Betty finds them and uncovers Don's deepest secrets.
She confronts him with a prosecutor's precision eliciting admission, tears and 10 to 15 seconds of the finest silent acting since Steve McQueen and Yul Brenner loaded up before reining the horses to pull the hearse up to "Boot Hill" early in The Magnificent Seven. Facial expressions by both Jon Hamm and January Jones were worthy of a classical portraitist. The session proves to be the final straw, sucking the remaining portion of love for Don from her. Needless to say both feel moods of blue. There's probably a more elegant way of writing the above and honest criticism is welcome.