Other things to note:

i: clips of young Fleetwood, a gangly long-hair beanpole pulling goofy faces; clips of young Mcvie, small and compact, stern-faced, focused, always avoiding looking into camera. Compare both to how they are now
ii: the way Fleetwood always speaks for McVie, sat darkly right there beside him, keeping his counsel (“John always felt…”: why can’t John say what he always felt?)
iii: no one seems to get close to the nut of what went awry (money, drugs, sudden vast fame, various semi-related violations of idealised integrity, sex…), nor do they really recognise they’re nowhere near it. As anecdotes, it’s compelling; as self-analysis or wider cultural acuity, really nowhere…
iv: this was a generation who escaped the cramped given futures of their backgrounds into (someone else’s) musical facility rather than (someone else’s) verbal facility. “My” generation of pop-figures trusted music far less; placed far more uncritical trust in borrowed systems of words (tempted to say “college-boy” words). Which is perhaps why the reflection on display here seems so much more open and beguiling, right or wrong. It hasn’t convinced itself it’s “cleverer” than you; it isn’t looking over its shoulder all the time; its insight isn’t something you anxiously need to go away and read up on.
v: With iv in mind, significant perhaps that their “younger-generation commentator” has to be a Gallagher. He doesn’t bring much beyond simply stated fandom — but who might they have invited that allowed themselves even this? (And not clouded it up with second-guessing, I mean.)
vi: “B. B. King (…) said that the only guitarist that sent shivers down his spine was Peter Green…” Don’t read anything pejorative into the word “borrowed” here.
vii: [added a little later] Andy Capp-style flat caps as the fashion accessory of the Thames Delta Blues Kids, 40 years on.

Then I started imagining the factories and warehouses full of these pale green and poorly fashioned figurines, and started feeling a bit ill myself: it’s not such a bad habit, when something mass cultural entertains you momentarily, to imagine how it would strike you en masse.

In my day-job I have to read — and deal with — the terms “appropriation” and “subversion”, maybe not exactly en masse, but far too bloody often. The people using these words (not just these words) mostly imagine they are observing stuff from a higher intellectual plane: on the whole they’re really really not.