Show Notes
The coming together of two great British cultural institutions feels fated, but how well did Russell T. Davies pull it off? We look, of course, at how accurate they've been when it comes to Beatle detail, and in particular at the characterisations of John Lennon and Paul McCartney. Matt, a Whovian, explains how this episode fits into the canon and how this season of Doctor Who compared tonally to others, while Ed, who thinks he might have seen a couple of the Christopher Eccleston ones 20 years ago, mainly just listens.
Watch the episode on BBC iPlayer if you're in the UK and have a licence: https://www.bbc.co.uk/iplayer/episode/m001z8c7/doctor-who-season-1-2-the-devils-chord Or on Disney Plus if not: https://www.disneyplus.com/series/doctor-who/1ml73V6phgyZ Some clips of the a non-Eccleston Doctor playing a Beatle (identities revealed in the episode): https://youtu.be/cOzmhlgwM4E Hear the Beatles-related Doctor Who audio story, Fanfare for the Common Men, on the "Into the TARDIS" podcast: https://shows.acast.com/into-the-tardis/episodes/doctor-who-1963-fanfare-for-the-common-men-part-1
Meet the Beatles Films Podcast
The Beatles Films Podcast is hosted by Matt Looker and Ed Williamson. We're both film writers and Beatles fans. Between us we've written for TheShiznit.co.uk, Total Film, Den of Geek and Virgin Media.
But tomorrow may rain, so you'll follow us on: Instagram https://instagram.com/beatlesfilmspod Bluesky https://bsky.app/profile/beatlesfilmspod.bsky.social YouTube https://www.youtube.com/@BeatlesFilmsPodcast Threads https://www.threads.net/@beatlesfilmspod X https://x.com/beatlesfilmpod Facebook https://www.facebook.com/groups/304654901827622 Go to https://www.beatlesfilmspod.com/podcast-episodes for full notes on each episode, with links to watch the films where available. Hosted on Acast. See acast.com/privacy for more information.
More from The Beatles Films Podcast
More chasing and more studied pointlessness as we head into the film's final scenes. We look at the Buster Keaton influence on the escalating police chase scenes, and ask whether Ringo is actually back where he belongs when he rejoins the group, given that there's been no narrative resolution of his earlier discontent. We look at the filming and editing techniques of the concert scene, and have a look at John's final words for Grandfather.
(Ringo's Theme.) We get on to Ringo Starr's real introduction to the world as an actor, when everyone thought "Hey, he's not bad at this, is he?" In particular he does a great job with Wilfred Brambell in the canteen, convincing us he's slowly becoming persuaded to leave the group. We spend some time parading with Ringo, looking at his interactions with the boy and in the pub.
Part 4 takes in three of the film's key solo spots: John Lennon's scene with Anna Quayle, George Harrison in the teen TV show office, and Paul McCartney fronting the Beatles' performance of And I Love Her.
From the hotel to the TV studio. We see the Beatles at a press event, which revisits one of the film's themes: that Beatlemania persists with or without the Beatles themselves. We get into more class dynamics between Ringo Starr and the sound engineer ("Aren't you being rather arbitrary?") and John Lennon's delivery of If I Fell gets us into discussing whether he could sing love songs straightforwardly without undercutting them with a joke, something which Paul McCartney didn't struggle with.
Part 2 covers roughly the next 12 minutes of Richard Lester's film. We look at the absurdist downplayed reaction to finding an intruder in your hotel room cupboard, and the generational disconnect in how comfortable the Beatles seem in the nightclub, vs how grandfather can only fit in at the casino by pretending to be someone else. Plus! The class dynamics in Ringo Starr's jump-dancing with a posh fellow clubgoer, and some more magic realism in John Lennon's bathtub scene.