Read Window? Ugh.
Well, she is a model and fashionista, so it’s not really out of character for her to drop names. (She also orders dinner from “21”, a real and very popular restaurant.) Also (this isn’t much of a spoiler, so no box) each of the neighbors that Stewart (and eventually Kelly and Ritter) spy upon represent some component of Stewart and Kellys characters’ relationship, and indeed, the theme of the film is as much upon relationships as it is the nominal alleged crime. The original short story upon which it is based, IIRC, doesn’t have the Kelly character and is much poorer for it.
Also, Hitch managed to show a bathroom (big taboo at the time) but didn’t reveal the commode, so that slipped under the Production Code radar, as did a number of other suggestive references. And Thelma Ritter gets some of the best lines ever spoken in film. “Must 'ave splattered a lot.”
Any great filmmaker pays attention to the small details. Listen to Frankenheimer’s commentaries on The Manchurian Candidate and Ronin, for instance, or watch for the nuances in Coppola’s The Godfather. (Notice what happens everytime someone picks up an orange.) Akira Kurosawa was well noted for storyboarding out his films in great detail. These details are what distinguish a merely adequate film from a great one.
Stranger
I have plenty of moments that strike me during Hitchcock films - the kiss at the door of To Catch a Thief - the “government secrets, perhaps?” moment in (best not tell - not a spoiler really but one can’t be too sure) and others…
Bottom line - his was a case of “Art is the Mastery of Craft” if there ever was one…
“I don’t want any part of it.” 