I’m just saying that although Stewart is twisted, the audience tends to let him off the hook (of course this is the master effectively playing Stewart against type). Plus Holy Cow! (from Stewart’s mouth), How does fifty-ish Stewart get to nail Kelly and Novak (twice, if you count Bell, Book, and Candle). Some serious suspension of disbelief, wishful thinking on audiences part, or more twisted Stewart-ness?
I thought Stewart was “accessory to murder” twisted in “Rope”, since he m.o.l. Infected the boys with warped Nietzscheism, but somehow Stewart keeps his skirts clean!