I can’t get this mid ’70s Canada Dry commercial out of my head. I happened to watch it on my iPhone a couple of days ago and it won’t leave me alone. I was singing it to myself while driving around town last night. Broderick Crawford rules, of course, because he’s saying it straight and plain. Aldo Ray and Jack Palance (a.k.a. Genghis Khan) are okay but they’re doing self-parodies. I prefer Schweppes Bitter Lemon.

I naturally assumed that sometime before or after my Love & Mercy interview with Paul Dano and Elizabeth Banks at the Capitol Records building that I’d have a chance to visit the legendary Studio A recording studio — the nearly 60 year-old facility where Frank Sinatra, Dean Martin, Louis Prima, The Beach Boys and many others have recorded tracks and albums. You can understand my disappointment when I was told that the Dano-Banks interview would happen on the ninth floor and that Studio A was off-limits. What? I decided to visit the place anyway. Sneak in, I mean. Right after Dano-Banks I elevatored downstairs and just strolled into Studio A like I owned the place. I took a couple of videos as quickly as I could, knowing that security might come in any second and give me the heave-ho.

You can sometimes tell the difference between born-and-bred Los Angelenos vs. ex-New Yorkers residing here (i.e., folks like myself) by how they walk across crosswalks. I feel guilty in making people stop for me so I hustle across. My East Coast upbringing taught me that cars own the road and that pedestrians should get out of the way as quickly as possible. But L.A. rezzies feel it’s their absolute right to stop traffic because, you know, it’s the law but also because people in cars need to chill and Zen out. So a Los Angeleno on a crosswalk will always take his or her time. No hurry or worry. They’ll saunter across with their flip-flops and baggy shorts and whatever attitude. Much of the time I’ll be sitting there on my rumbling bike and slightly frowning and shaking my head at their smug attitude. A responsible pedestrian in any city always feels at least a twinge of guilt about making drivers hit the brakes, but not here.

Roadside is launching its Love & Mercy award-season campaign this weekend. 80 minutes from now I have to be at Capitol Records to interview Paul Dano and Elizabeth Banks. Tomorrow night I’m doing a sitdown with director Bill Pohlad on a hotel rooftop. There’s a Monday lunchtime thing at Craig’s and also a thing at Vibrato that night with Brian Wilson performing  a song or two. I recently reminded everyone that Love & Mercy is definitely one of the 2015 standouts so far, that people love it big-time, that it easily warrants Best Picture consideration, that John Cusack and Paul Dano fully deserve Best Actor and Best Supporting Actor nominations, respectively, and that Elizabeth Banks absolutely warrants a Best Supporting Actress nod for giving the best performance of her career.

One of the biggest shockers of the year is the bizarre under-performing of Baltasar Kormakur‘s Everest, an incontestably well made, completely believable adventure thriller that you have to see on a big IMAX 3D screen. Really — you come out of this thing and the only response is “wow…definitely not a Netflix experience!” And yet a majority of the ticket-buyers out there have turned away and shut it down.

Everest isn’t a wipeout but it’s limping. It’s only made $36 million and change after 22 days. Yesterday’s per-screen average was $420 on 2120 screens for a total of $890,000 — it’s all but finished.

Why? Well, partly because some folks just didn’t like it that much. On 9.20 (or two days after it opened on 9.18) I noted that it had a mystifying 73% Rotten Tomatoes rating and an even stranger 64% on Metacritic.

But in the view of Boxoffice.com‘s Phil Contrino, Everest simply “hit a wall.” And the name of that wall is Ridley Scott‘s The Martian.

“Come again?” I said. “Why would wanting to see The Martian, which opened on 10.2, affect one’s interest in seeing Everest, which opened on 9.18?” Because, Contrino explains, Everest opened wider on 9.26 or only a week before The Martian, and Joe and Jane Popcorn figured that The Martian was the better bet.

“I’m still not following,” I said. “Okay, you’re reading early reviews and The Martian sounds good but how does that translate into not seeing Everest a week or two earlier?” Because IMAX movies are expensive, Contrino responds, and people on a budget are selective.

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It’s nearly mid-October. Halloween pumpkins are stacked high at my local Pavillions. Yesterday I was thinking about dropping off a couple of sweaters at Holloway Cleaners. And today it’s 98 degrees with the same expected for tomorrow. Even for Los Angeles this is way out of the realm of normal. 2015 has proven to be, in fact, the hottest year on record. Which is largely the fault of China, India and American climate-change deniers (Republicans, corporate whores, hinterland yokels). I’ll tell you whose fault this definitely isn’t — i.e., mine. I sit around and write all day, and whenever I go anywhere locally I prefer my bicycle or scooter to the car.

From Pride and Prejudice and Zombies Wikipage: “Based on Seth Grahame-Smith‘s 2009 novel [and] first announced on 12.10.09 in Variety, where it was revealed that Natalie Portman would both star in the role of Elizabeth Bennet and produce, and that Lionsgate would finance and distribute.” Thud. “On 12.14.09 David O. Russell was announced as the writer and director of the film, but it was announced on 10.5.10 that Russell had left the production due to disputes with Lionsgate over the budget. The next day Portman had quit the role of Elizabeth Bennet, though she would still produce the film.” Double thud. “Following Russell’s departure, Lionsgate offered the directing reins to Mike Newell and Matt Reeves, but both declined. On 11.5.10 it was announced that director Mike White had left the film due to scheduling conflicts.” Bullshit? “In February 2011 Craig Gillespie took over as director. On 10.27, it was announced that Gillespie had left the film. At one point, both Jennifer Aniston and Rowan Atkinson were attached to the project. On 5.2.13 Lily Collins confirmed that the film was still in the works and announced that she would star in the film as a leading role. On 8.4.14 it was announced that filming would begin in September, with Lily James as Elizabeth, Sam Riley as Mr. Darcy, and Bella Heathcote as one of Elizabeth’s sisters. Jack Huston joined the cast on 8.12.14.”

Last night Truth costars Cate Blanchett and Robert Redford sat down for a Times Talk discussion with New York Times Magazine staff writer Susan Dominus, and were later joined by Dan Rather (whom Redford portrays in James Vanderbilt‘s film) and his former 60 Minutes producer Mary Mapes, whose book, “Truth and Duty: The Press, The President and the Privelege of Power,” is the basis of Vanderbilt’s screenplay.

I’m credentialed. Might be cool. Two days of listening, watching, roaming around, sucking up the vibe. A Saturday debate between Ann Coulter and Cenk Uygur. A Yes Men interview with Edward Snowden. A live visit from Trevor Noah. A KCRW political debate between Robert Scheer, Patrick Milsaps and Mike Pesca. A Doris Kearns Goodwin interview. A screening of Mad As Hell, a 2014 doc about Uygur’s contentious career, plus an interview with the guy.

Steve Jobs screenwriter Aaron Sorkin offered two interesting observations about the late Steve Jobs on last night’s Charlie Rose Show. The irony is that neither view is, I feel, truly manifested or brought home by the film.

Sorkin Observation #1: “If you’re writing an anti-hero, you can’t judge that character. You have to write that character as if they’re making a case for before God why they should be allowed into heaven…you have to be that character’s lawyer.” HE response: The feeling I had about Jobs when I finished reading Sorkin’s script was “no sweetheart but what a force of nature!” while the feeling I had about Michael Fassbender‘s Jobs was “what an asshole.”

Sorkin Observation #2: “This man, deep down, felt flawed and unworthy of being liked, unworthy of being loved…and to compensate for that, had the remarkable ability to infuse these products with lovability.” Rose (echoing): “Here was a man who didn’t feel loved but was able to give lovability with products that people would love.” HE response: This is the most profound observation about Jobs that I’ve ever read or heard. It makes perfect sense. But I didn’t hear it articulated in the film, either directly or indirectly. Maybe I was nodding out or something.

Wells to Universal: “Please hint that you’re thinking about maybe platforming Joel and Ethan Coen‘s Hail Caesar! sometime in December before the wide break in February? Just for the fun of it? I’ve read the script and it’s a peach, this thing. It’ll be great to have a Coen Bros. knucklehead comedy to put on my Ten Best of 2015 list.” By the way: If you look at the cast list on the Hail, Casear! Wikipedia Page you’ll notice that Patrick Fischler, David Krumholtz and Fisher Stevens portray “Communist screenwriter[s]” and that Dolph Lundgren plays “a Soviet submarine commander.” Do the math. Wouldn’t it be a kick, hypothetically speaking, if an early ’50s Hollywood farce was predicated on the notion that HUAC, John Wayne, Cecil B. Demille, Robert Taylor, Adolphe Menjou, Gary Cooper and all the other witch-hunters were right? And that there was, in fact, a cabal of Hollywood commie screenwriters in league with Stalinist Russia, and that they were plotting to undermine American Democratic values and maybe even take over? New Beverly double-bill in July 2016: Hail Caesar! and Jay Roach‘s Trumbo.