me and the wife, hell, we like going out! we just don’t

Es­ti­mated reading time is 3 min­utes.

I GET SEV­ERAL NEWSLET­TERS a day, and if there is some­thing I think of gen­eral in­terest, I share tit on my Face­book page. When I go to Face­book, it takes me di­rectly to my time­line and there I check out the first dozen or so posts from friends. That is my sole in­ter­ac­tion with Facebook.

When I went there ear­lier today, there was a post con­cerning the prob­lems with going to a movie the­ater in 2013, in­cluding the price of tickets and con­ces­sions, rude viewers, etc. So I chimed in and wrote the following:

“I am 62 years old, so the prices seem too high and few modern movies at­tract me. I re­member going to the­aters in Penn­syl­vania when I was kid; they were old venues, built back in the ’30s. They had class (sorely lacking in the giant plexes) and the seats were more comfortable.

With other things going, so is my hearing. But I have still found my­self walking out on movies where the sound—especially in any kind of ac­tion movie—is ex­ces­sively LOUD! Who has not heard movies so loud that they bleed through the walls from the ‘the­ater’ next door?

An­other problem: the movies and di­rec­tors that I want to sup­port come and go so fast that I often never even know that they are playing. I don’t know what those of you back east think, but if you don’t catch a Woody Allen movie in its first week in most of the country, you just wait for the DVD.

As for ticket prices: some people make the ar­gu­ment that they haven’t gone up when ad­justed for real life in­fla­tion. Agreed, but that does not take into ac­count the fact that wages for real life workers have NOT fol­lowed that line of inflation.

In the early 1970s, I could take a girl to the movies, stop at a bar for a drink or two, and tip the bar­tender for less than $10. That was five hours of work at min­imum wage minus taxes.

Such a date today would cost be­tween $50–60 (and more in some places), or the equiv­a­lent of al­most eight or nine hours of work at min­imum wage minus taxes. So, going out IS more ex­pen­sive to many if not most blue collar and ser­vice in­dustry workers.

What makes it worse is that we LIKE going out—we just don’t. And, here in Red­mond, Wash­ington, ar­se­w­holes talking loudly or talking on their cells during a movie is so rare as to be a non-issue.”

Berni and I do not have our tele­vi­sion hooked up to any cable ser­vice or pay channel or even to local sta­tions. That is, we don’t “watch TV.” But we do watch a lot of movies, and I like most genres—including chickflicks—while she can watch most films that are not ex­ces­sively violent.

We also take rec­om­men­da­tions con­cerning the many ex­cel­lent se­ries that have ap­peared on com­mer­cial tele­vi­sion. We just fin­ished Weeds and need to catch up on The Big Bang Theory and a few others.

We are for­tu­nate here in King County, Wash­ington, to have one of the na­tion’s best li­brary sys­tems, so we get al­most all of pour movies from the li­brary at no cost. Fi­nally, if you want to sug­gest any se­ries of the past few years (we also loved Firefly and Six Feet Under and Lost and Life On Mars) to us, do so in the Com­ments sec­tion below.

Like I said: me and the wife, hell, we like going out! we just don’t . . .



1 thought on “me and the wife, hell, we like going out! we just don’t”

  1. For some reason, I con­tinue to have is­sues with sub­mitted com­ments finding their way to the ac­tual Com­ment sec­tion of my posts. Here is one from Mark De­Coursey that he sent to me via email after being un­able to get Word­Press to post it:

    “For re­ally biting, anti-corporate satire, we like the se­ries BETTER OFF TED, still avail­able from your basic Net­flix. We are sur­prised: not only was it pro­duced, but it lasted mul­tiple sea­sons be­fore being killed off — pre­sum­ably by the cor­po­rate ad­ver­tisers. Like Stan Fre­berg and Gar­rison Keillor, TED does its own com­mer­cials, wielding a hatpin just as sharp as the show itself.

    You might also enjoy the British mys­tery se­ries, HER­CULE POIROT star­ring David Suchet. Glo­ri­ously pro­duced with pe­riod sets, autos, and cos­tumes from the 1930s, flaw­less ac­tors, stun­ning lo­ca­tions, and peer­less camera work and editing. The latter years of the se­ries are even tastier than the first few years, owing pos­sibly to a snow­balling pop­u­larity and cor­re­sponding budget. A good place to start may be the episode, “Five Little Pigs,” which stands out among those I’ve seen as an evoca­tive drama that bumped me out of my reg­ular groove.

    We have also en­joyed JESSE STONE se­ries, the ear­lier episodes of which have seem to have dis­ap­peared from the low-grade Net­flix. It stars Tom Sel­leck, who was also in­volved in the scripting and pro­duc­tion. In that se­ries too, the camera work and editing is ab­solutely second to none. 

    When we see a a deft hand like this patch to­gether a con­ver­sa­tion be­tween ac­tors from var­ious film shots, we know that great ed­i­tors are born, not made. Sel­leck called it a labor of love. If pos­sible, watch the se­ries in se­quence from the beginning.”


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