Nothing points up how out of touch I am with current culture in this country like reading a list of the top-selling CDs of the last year. Or the top ten movies. Or the best-selling novels. I don’t recognize any of them. And this current crop of popular singers–who are they? I hear their music on the radio and it all sounds alike. And the gospel music sounds like the rock stuff.
I’m trying hard not to be an old fogey about these things. I buy CDs of Alison Krauss and Union Station, the best blue-grass band ever, and they’re not ancient. I love Neil Young, but he is. My favorite is the songsters of the big band era; “old” goes without saying.
Now, I’m not against going to a movie occasionally, if it’s the right kind. Lately, there have been some good ones out there. Late Thursday afternoon, I bought a ticket to see “The Good Shepherd,” a story of the old OSS and the beginnings of the CIA. After an hour of this movie, I found myself puzzled to the point that I left.
I wondered who, for instance, decided that the best way to tell a cinematic story is to cut it up in bits and pieces and disorient the viewer? In that movie, a scene from 1961 is followed by one from 1939, then we cut to 1945. Back and forth. None of it made sense. Do these people not know you tell a story by starting at the beginning and going forward to a conclusion? Or would that be too simple, too juvenile? Did Kurt Vonnegut create this fractured-storytelling business with “Slaughterhouse 5”? At least his made sense, eventually.
I wonder what is the process movie-makers employ when they decide, “Let’s make the hero a sad, silent, miserable type. And let’s give him an unhappy home life. Let’s have his child be emotionally abandoned and overwhelmed by sadness. Oh, and let’s make the United States as unscrupulous and murderous as its enemies.”
Perhaps the biggest questions of all are: why do movie critics rate these shows so highly? and why am I paying good money for this?
“I don’t need this,” I rationalized, and walked out and went home to supper.

