Trailer: https://bit.ly/3D8mdm5

Thanksgiving used to be for movies. This is the weekend the serious ones launched. Of course there were family flicks, and stuff in between, like “Mrs. Doubtfire,” it’s just that I remember going to the movies over the Thanksgiving holiday but that tradition petered out a decade or so ago. I think the last movie I saw over the Thanksgiving holiday was “Slumdog Millionaire,” since then there hasn’t been anything I’ve wanted to see.

Now if we want to talk the movie business, it’s been permanently hobbled by Covid-19. Yes, there are tons of oldsters too scared to go to the theatre, but the truth is over the last eighteen months everybody has subscribed to multiple services and has become entranced by what streams on the flat screen. Furthermore, these shows are points of discussion. Seemingly everybody saw “Tiger King” and “Squid Game,” so you could discuss and fawn over and argue about them. You can’t do that with movies, because no one goes. Yes, the older boomers go to art films and the youngsters go to Marvel extravaganzas, but the art movies don’t get much mindshare, they sink into oblivion, and there’s not much to say about Marvel movies. I wish all these art films just launched on a streaming service, or maybe there could be a new service for all of them, because I read about them and forget about them unless I stumble upon them on a streaming service homepage months, or even years, later, and so many are great. Like “The Donut King,” now on Hulu. We were talking about visual entertainment last night and when it turned out everybody in attendance had not seen it Felice and I started testifying, there’s plenty to say about it. I used to testify about “House of Games,” before Mamet became further embedded in the public consciousness, but I don’t have enough movies to rave about anymore, “Donut King” is one of them.

But in truth I’m pretty burned out on movies. They’re too short, I love more detail, and that’s what you get in streaming series, the movies of today.

And it is well known that the Danes and the Israelis make the best television, and “The Chestnut Man” is Danish, it’s not the best series I’ve ever seen, but it’s far superior to the American dreck being hyped in today’s media. I laughed at the L.A. “Times” streaming recommendations, domestic and lowbrow, what the nitwits like, when the truth is exposed to something better they’d like that even more. Then again, I can’t understand why people hate subtitles. You can watch “The Chestnut Man” dubbed, but it’s not the same. But better to watch it dubbed than not at all.

So ultimately “The Chestnut Man” is a murder mystery. But in Danish and Israeli productions the plot, the story, the dialogue, is superior to the design. American directors are the reverse, they focus on the look first, and that’s a mistake. Not that the look of “The Chestnut Man” is not good, it just doesn’t dominate, there are no holds on vistas, cinematography to impress us. The series is shot in the late fall, and it’s dark and dreary at times and it matches the plot, enhances the tone.

You see there are murders. What is the motivation? Are they connected?

And the daughter of a government official is a victim, and her interactions with her sidekick are like Kasper’s with Birgitte in “Borgen.”

But there are so many issues. How does a couple handle the death of a child. Usually differently, usually the marriage doesn’t survive.

And how important is your work? What do you sacrifice to be good at it, great. Relationships? Children?

And hurt… How long does it last. Forever?

People keep dying. The police feel they’re not doing their job, never mind what outsiders think. And the story keeps unfolding and you’re not sure where it’s going and you’re guessing all along who you think is the perpetrator, and even when the person is revealed the series is not over, there’s more to play out.

So I highly recommend “The Chestnut Man.” We were watching an episode before I planned on hiking on Friday night and then I punted my hike, not only because I wanted to finish the series that night, but because I was enjoying the experience, it was so visceral, like being at a movie.

And I love that feeling.

https://amzn.to/3lk2YA0

Every baby boomer should read this book.

Getting old is weird, in ways they never told you about. Sure, you regret the time you wasted. And you know so much more but nobody wants to listen to you. But the most revelatory thing is you just don’t care. It happens almost overnight. Suddenly you realize all those games people play, the so-called winners and losers, they no longer give you a shot of adrenaline, you’re no longer invested, you know at the end of the day they’re irrelevant and…on one hand you feel empty, because the secret of life has been exposed to you and no one cares, and on the other you feel liberated. And the truth is you can fight this feeling, but you can never beat it. It’s something in the bones, in the DNA, you hit a certain point and your perspective changes no matter what you did previously. The funniest thing is seeing people try to hold on to what they had, fearful of looking bad, not knowing that nobody is really paying attention anymore.

Not that you can’t achieve in your old age. Elizabeth Strout published her first book, “Amy and Isabelle,” in 1998, when she was 42. Her age, her experience, have given her wisdom, and she writes so well about the odd, the disenfranchised, the different, which so many of us are, even though we might try to hide it.

So the truth is almost all baby boomers have been divorced. We were sold a bill of goods in the sixties and seventies, telling us we could meet our soulmate and have it all when that is patently untrue. As a matter of fact, if you meet someone who utters this garbage ignore them, two people getting along is incredibly difficult, and if the couple professes endless love with no disagreements that just means one partner has the power and the other accedes to his or her wishes. If you’re not fighting, you’re not in a good relationship.

Now today the educated marry the educated and stay together while the uneducated often don’t get married at all, they have babies out of wedlock, oftentimes with multiple partners, and they do their best to ensure they stay members of the underclass. I’m quoting statistics, not feelings, but you can argue with me anyway. And there are exceptions to every rule, not that anything can be gray anymore.

So it was Strout’s third book, “Olive Kitteridge,” that was her monumental breakthrough. It was shot into the stratosphere when it became an HBO miniseries, starring the incredible Frances McDormand, but I couldn’t watch it, because it didn’t square with the vision I had in my head, and Strout’s books are personal, for the reader only, and when depicted on screen they inherently lose something, small stories become well known and this isn’t the way life works.

But every Strout book is good, she’s the Pixar of novels. And she gets her due, but I’m surprised even more people don’t read her books, because they’re so fulfilling, you don’t want them to end.

Not that they’re a huge commitment. In a few pages you’re hooked and you don’t need to read with a dictionary and although there’s tons of plot, there is tons of wisdom too, Strout’s books are what the graduate writing schools should hold up as their model, instead they produce self-conscious turgid works where the words supersede the plot and the only people who read them are the cognoscenti who keep this system alive.

They can’t study Strout, they believe she’s beneath them, she makes it seem effortless. But the best work is not always highbrow.

So what you’ve got here is a divorced couple. With two adult children. And the wife’s second spouse dies and the husband ends up single again and they interact.

Now in a conventional romance book they’d get back together, all lovey-dovey, but that’s not how the world works. William still bugs Lucy, but they share so much history, they were married all those years, never mind having those kids, so…

They’re on the downhill side of life and end up interacting again.

William continues to work. But is his self-worth and identity caught up in his work? And how good was he at it really?

As for Lucy…she comes from nothing and can never get over it. She always feels she’s out of the loop, doesn’t know something, and in truth she’s never felt fully comfortable in a love relationship, she’s made them work, her second husband was nice, but to say they were soulmates would be a stretch. As for William, can he ever open up, can he ever be known? This is common amongst men. They can talk all day yet reveal nothing. You hear their truth in stolen moments if you hear it at all. And they get to the end of their lives and they wonder if they missed it, played it wrong.

Also, so many are putting up a front. They may look together, but they grew up poor and isolated. And every family has secrets, things they don’t want people to know, that they sometimes keep from other family members. And…

I don’t want to tell you any more.

But you’ll learn more about life reading “Oh William!” than watching the Beatles miniseries. Not that they should be equated. Well, let’s just say that reading “Oh William!” is like listening to a late period Beatles album, maybe the White Album. It’s a personal experience, it sets your mind free, you’re in a private space, thinking about life. That’s what great art does, and that’s what people are looking for. Which is why Strout is so successful, why her every book is a best seller, because people hunger for this feeling and fulfillment. Facts are interesting, feelings are life.

Every boomer will dig this book, and many others too. If you’re willing to reflect, question your behavior and desires, you’ll be stimulated by reading “Oh William!”

Not that reading a book is as easy as watching TV or listening to a record, but when done right it’s a unique experience, that you cannot get anywhere else, that resonates so. Check out “Oh William!”

It’s boring. At least the first half to two-thirds. That’s what they don’t tell you in the endless hosannas about this miniseries, that if you’re not a dyed-in-the-wool Beatles fan, you’re gonna have a hard time sitting through it.

Having said that, what we’ve got here is the inner workings of a band. You remember bands, don’t you? Well, there aren’t many left anymore, other than in the active rock/hard rock world, because it’s so hard for people to get along! Furthermore, today you can do it all yourself, there are so many online tools, you can even buy the beats to rap over, where as before you had to do it from scratch and you needed others.

It’s astounding how rough they sound at first. Without the studio effects, never mind rehearsal. We’re so used to the Beatles being perfect, but that is far from the case here. The guitars are thin, the vocals imperfect. And then…it gets better.

You watch this episode and you wonder how anybody can get along, not only the Beatles! People don’t want to compromise, or they’re too eager to compromise. And it’s the same today, just look at politics.

As for music…

“Get Back” was a protest song, against anti-immigrant sentiment in the U.K. What’s astounding is this is still an issue fifty years later, it’s the main driver behind Brexit. But unlike Clapton (who is referred to on a regular basis, you feel sorry for George, who feels inferior in that he cannot solo in the same way) the Beatles are on the side of the immigrants. This was a feature of music back in the sixties, not a bug. Saying something was important, unless you were maybe on AM, well at least in the seventies, singing meaningless ditties, just like today, when you don’t want to offend a single potential customer. People burned Beatles records but that did not change their direction, not a whit.

And they’re writing songs in the studio. This is how they do it! Not that most people can afford this experience, at least not anymore, when the few big studios that are left are far from cheap and almost every act’s budget is small.

As for the writing of these songs… This is not how they’d been doing it. Before Yoko arrived, John and Paul would get together and write.

As for Yoko… It’s less about her than John. He’s insecure, he’s exploring his inner life after succeeding at outer life. In truth, if someone brought their significant other into this situation and they sat right next to them I’d be pissed off. It inhibits creativity, it affects the power balance, but this is what John needs to attend and perform.

As for George… His music is different from John and Paul’s, and he’s a party of one, and he gets the short end of the stick. Not that this has not been detailed previously, exhaustively. But you are still surprised when he walks out. That’s a flaw in the movie, there had to be more that preceded this, some statements, more arguments, then again a film is always just a facsimile of real life, and editing can change the meaning, isn’t that what we’ve learned watching reality TV?

And they do watch TV, they talk about what they’ve seen, shows are their inspiration. But in the U.K., there were many fewer channels and shows. And now it’s a completely different universe, there’s so much visual entertainment that the odds of your bandmate watching the same stuff are essentially nil.

So in truth they play many more songs than just those on the “Let It Be” album. And that’s a thrill. But it also shows that “Abbey Road” wasn’t composed singularly, after the “Let It Be” project was discarded. They’re picking up pieces from the past to try and create enough new material for the show. And their creative styles are completely different. I love when John says when time is ticking down he’ll deliver. Some people need that deadline to get motivated, to get inspired.

And another thing…bands need a manager, to lay down the law, to make the peace, to get all the members on the same path to a destination. Turns out the death of Brain Epstein was as huge a factor as portrayed. Well, big in history, not so much at the time.

What else?

Everybody’s so YOUNG! Especially Michael Linsdsay-Hogg. How did he get this job?

And the references to Magic Alex, and George Martin saying not to rely on him and then one of the band members saying that Alex doesn’t really create anything, he just finds stuff and tells them he did, invent it that is.

And Mal Evans… Funny how he transcribes the lyrics, and he’s got that awful haircut. Long hair was a badge of honor back then, to be included you had to grow yours.

But not Dick James, who is so jive, just like people in the music business today. The upbeat fake intimacy. Dropping in and talking. Then again, publishing was more than the song back then, there was print and now you just steal it from the internet.

And James looks completely different. He’s a businessman, not an artist.

And Glyn Johns… You’re not quite sure what to think of him. He does weigh in creatively at one point, but what kind of producer was he? And the fact that he was cutting the Eagles just a couple of years later!

That’s one of the amazing things, how short a period of time this was, how compacted it was. Music was vital, it was constantly changing, and the songs that are remembered most come from this era.

So, the Beatles had been slogging for over a decade. You watch and you start to think they’re entitled to break up. You watch and you think every band should break up, in order for the people to grow.

So on one hand it’s like encountering Oz. THIS is the group that made all this legendary polished music? But they do coalesce at the end of the episode, the evolution is astounding.

Oh, and when they call out chords and keys… You realize these are not studio musicians, who can read music, but guys who rehearsed in the “garage” and figured it out along the way. On some level they’re still amateurs, but they’re also experienced professionals.

So if you want to know how a band works, how a record is recorded, this is probably the best peek inside the machine ever. But it’s so often boring. Even more boring in real life.

Not that you wouldn’t want to be there. How did people get this job?

Well, being friends is primary, as well as being in the right place at the right time, Evans was a bouncer at the Cavern Club.

But it was a long, long time ago. Two of the Beatles are dead. Ironically the ones most detached in this episode.

But the music is pristine, as are these images, it’s like it’s happening right now.

But it’s not.

You’re not gonna get it unless you think IT’S THE BEATLES! Which probably means you were there the first time around.

And the pressure, Lindsay-Hogg saying how the show has to be bigger and better, how they owe their fans.

But if you did live through the Beatles…

You still might find this episode too much to sit through.

It does set up the second episode, which deals with George leaving, where there’s more story, more plot, where it’s more like a conventional movie. But…

Watching “Get Back” makes you wish there were footage of all the recording sessions. You learn a lot watching Paul talk to Rick Rubin on Hulu, but you don’t see the band creating the songs.

But one thing is for sure, it’s a bygone era. There was so much LESS! And the Beatles were so much BIGGER! But watching this film you realize they were just people. Imperfect. Experienced and talented, but also at times with rough edges.

And then there’s the power shift, Paul saying it used to be John’s band, now it’s his.

There’s a lot here. But it takes almost three hours to get it. An endurance test even for hard core fans. Turns out watching history can be a chore. But you ignore it at your peril. This is the best evidence of how it was. And forevermore shall not be.

Tommy James cut “Hanky Panky” when he was just a teenager, and then he signed with Morris Levy’s Roulette Records and ended up with tons of hits, but very little money. Listen to the story of an artist who pushed the limits of the hit single idiom (remember the tremolo effect in “Crimson and Clover”?) and toured with all the stars of the sixties as well as Hubert Humphrey!

https://podcasts.apple.com/us/podcast/tommy-james/id1316200737?i=1000543045573

https://www.stitcher.com/show/the-bob-lefsetz-podcast

https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/the-bob-lefsetz-podcast