A more modest contender is Stephen Mulhall. His perceptive book about the 'Alien' series, On Film, has only four – but it is very short. Here is the first appearance:
From beginning to end, the 'Alien' films present us with small, isolated groups of human beings framed almost immediately against the infinity of the cosmos. Each individual's inhabitation of the universe appears unmediated by the more complex interweavings of culture and society, those systems of signification which always already determine the meaning of any actions and events encompassed by them [...]
My brief attempts to discover the meaning of "always already" suggest that it is, indeed, always already determined by a certain culture; translation or extraction is virtually impossible.
In one use, however – which apparently derives from Heidegger – "always already" seems to be involved in statements of essence. To say that F is always already G, on this reading, is to say that being G is part of what it is to be F, and, perhaps, that the very concept of an F can be fully grasped only through this connection. That would make sense of the passage above, and of the claim that reality is always already given to us through language.
But "always already" is imperialistic. It finds itself deployed in contexts where it has to mean something else. From later passages of Mulhall, On Film:
[David] Fincher has always already lost [...] faith in the significance of [suspense and fear as] narrative artifacts.
[...] Christianity has always already acknowledged the worst that nihilism can tell us [...]
[...] the generativity of her flesh has always already been exploited [...]
I have mixed feelings about this linguistic expansion. You might expect me to whine about it. But I can no longer do so without hypocrisy. I write in contrition, as someone who has used "always already" in conversation – without irony – and who has been tempted to use it in print. The time of the "always already" is always already here.