Everyone Dies (The Bisexuals, Part 8)

The 1960s marked a period of profound personal and professional dissolution for Libby Holman and Montgomery Clift, defined by isolation, addiction, and the crushing weight of industry prejudice. Clift’s career suffered following the tortured production of *Freud*, where director John Huston’s overt homophobia and professional hostility accelerated the actor's physical and mental decline. Simultaneously, Holman’s later life became increasingly haunted by the deaths of those around her, a trajectory mirrored in the themes of Tennessee Williams’ *The Milk Train Doesn't Stop Here Anymore* and its adaptation *Boom!*. These works reflected Holman’s own reputation as a social pariah and her struggle with aging in a culture that devalued her. Ultimately, both figures succumbed to the cumulative toll of their personal tragedies, culminating in Holman’s suspicious 1971 death, which remains shrouded in questions regarding the integrity of the official investigation.