I have had it up to here waiting for the Beatles catalogue to be remastered

If you love the band, it is pretty awesome to be immersed in them. All four of them are naturally hilarious and entertaining.

I do love then, but tbh the banter was getting a bit tired by the second episode. Eg “Your hosts this evening, the Rolling Stones”

Yeah, that wasn't one of the moments I kept from the Nagra tapes either.

I feel like some of the best stuff had no chance of getting on air. As mentioned the "listen fuck face!" bit got cut out, as were the Enoch Powell parodies. Paul's got other stuff that I can see him censoring like the fake-German version of Let It Be that evokes the Nazis where he swaps out "Mother Mary comes to me" with a line that ends with "Master Breed."

LMAO

George is the whiniest bitch so far!

he reminds me of me, he gets light criticism and instead of seeing it as an opportunity to improve, he just wilts

You both have great beard game tho

reminds me of me, he gets light criticism and instead of seeing it as an opportunity to improve, he just wilts

― Cool Im An Situation (Neanderthal), Friday, November 26, 2021 2:31 PM (forty-two minutes ago) bookmarkflaglink

So would we all against McCarntneyism

George had just come from hanging out in Woodstock with the Band (who, it should be noted, ultimately inspired the whole “get back” to one’s “roots” thing that the Beatles and just about every other UK band jumped on at the time) where he was listened to and respected. Then he comes back to Paul shrugging off “All Things Must Pass” and shooting down pretty much all of George’s ideas.

It’s hard to take someone seriously when they’re constantly pushing “Maxwell’s”: “we have to do your crap song, but I’m the one who needs to improve?”

Exactly

He made the same complaint in the Anthology doc.

Just starting Ep2 and I feel like a real fly on the wall and am digging it thus far. Loving all this stuff even though the resulting albums/movie are not my favorite of their "product". Love the immersion in a long gone moment, tedious as it can appear. George, in my opinion, was not one of the cool kids for Paul and John and it's so obvious from this footage. Ringo just chilled and seemed to get on with everyone.Fascinating stuff.

Not just Paul … Poor George has to put up with John saying “Run along son…We’ll see you later. We’re a rock’n’roll band you know ?” when he shows them ‘I Me Mine’.

And it's funny...you'd think that after the kinda fail that was the MMT movie no one would listen to Paul for movie ideas. But here we have Paul at the top of Part 2 coming up with dope ideas lol.

xpost with all due respect and love but John could be a real dick and it shows.

On ‘I, Me, Mine’ I think at least John realises he went too far - so he is extra solicitous when it’s being recorded, checking that George is completely happy with the takes.

George had written “I’d Have You Anytime” with Dylan prior to the Get Back sessions. He must’ve looked at Paul and John and thought, “Why am I wasting my time with these condescending schmucks when BOB DYLAN is willing to collaborate with me?”

And, again, it's "Old Brown Shoe" that's the song Paul's most enthusiastic about

And like you said, that’s a good song! Paul probably just liked it for the fun bass part.

But George has played this sulky bitchy role for a long time by now.

In the past maybe they ignored him because he was still developing his confidence. Now he has the skills & is clearly writing amazing songs: and is ready to assert himseld but he is still a sulky baby! He doesnt have any new tools in his belt to get his point across. hanging out with other artists makes him resentful of the pecking order. so he is coming in I think partly expecting to be dismissed , so if it’s not immediately hearts & flowers (which it wouldnt be anyway) he shuts down because its confirming what he expected, and carries on roadblocking every other idea as revenge & just being passive aggressive, even when Paul owns his own failings and is at least attempting to meet George halfway .

he’s clearly very sensitive & it should just be talked out in a calmer way. but it just all projects out in this “fuck you” energy and it’s just such terrible timing given the session circumstances which are more unusual than normal & tempers are stretched anyway

like it’s not an easy room to pitch no matter what. George is not wrong to feel dismissed, but he also is really bad at communicating or compromising! it’s really fucking hard to do anything if “my way or the highway” is now the only option he’ll allow. it should never have gotten to that point … and it’s all tgeur fault for letting the Familiar Roles subsume changing talents & interests & basic human needs

It's crazy now that I think about it but I remember watching the Beatles Anthology when it first aired and being cognizant of 1990s George sitting at some table with Paul and Ringo and the feeling that he was ... "repulsed" might be a too heavy word but ... he wasn't "content" being in close proximity to Paul even then.

booming sulky baby post.

totally sticking this thing on over xmas.

The Paul / John convo at theop of Ep 2 clearly shows they're already on totally different creative or personal planes and it blows me away they managed to squeeze out some last few liters of ambrosia from this situation all told.

*at the top

Well, maybe a couple pints of nectar.

The memes have been funny

my favorite moment from the beatles doc pic.twitter.com/UWaeoKV0gi

— Ben Rosen (@ben_rosen) November 26, 2021

The awkward Peter Sellers moment was pure cringe and hilarious.

George sitting at some table with Paul and Ringo and the feeling that he was ... "repulsed" might be a too heavy word but ... he wasn't "content" being in close proximity to Paul even then.

I think he was genuinely up for some reminiscing with his buddies, and definitely seemed to enjoy the new recordings (and the acoustic jam session). But (and I posted this upthread, or on another thread) he’d known Paul since when he was 14. When Paul gets into his center-of-attention mode during Anthology, the look on George’s face says, “Ugh, this fucking guy again.”

And George could laugh at himself; I can’t imagine John or Paul doing anything like this.

pic.twitter.com/oQj3hjqket

— Dennis Butterball Hooper (@dennisbhooper) November 26, 2021

i love all the moments in Part 1 where John is dancing, his long limbs make his exaggerated movements v funny

To be fair, I understand the majority of George stanning itt bc Paul is obv exhausting and John can be a prick

but i truly cannot imagine trying to collaborate on anything with George when he’s in sulky baby mode, i would just lose my shit & fight him lol

Wow. I do not see George sulking at all! He's trying to talk and Paul at tines outright ignores him.

I do not see morose or glum, I see a guy coming into his own whose oldest mates won't even listen to his sound advice

he is a total diva, i dunno how you dont see it

with Alfred on this one, sorry.

A diva ignores others for the sake of her self-image.

Isn't this Paul?

Like, were inverting power dynamics. Ringo and George had less bargaining power from the beginning. Which dine! But circumstances changed.

*We're

No way am I saying George was equal to John and Paul. I AM saying, though, that John and Paul were not prepared to deal with an evolution in the band's dynamics.

i said that too at the end of my blarp, that they were all to blame for falling into familiar roles & not allowing for their needs to have changed over time

Otm

I should know. I'm the John or Paul in a relationship with one of my oldest and youngest mates. It fucking suxks.

The Beatles: Get Back part one pic.twitter.com/qWoNpS4cgs

— Dean Says 'No' To Pot-Smoking FBI Members (@danceyrselfdean) November 26, 2021

john & paul writing together from the start while absolutely critical to their success definitely poisoned the creative well for the band as a whole. paul cant do what he does w john & doesnt know how to nurture george’s creativity, and george finds paul’s confidence & take chargeness offputting & patronizing - which is also v liverpudlian
but instead of finding another way they just push harder in the only ways they know how, ie ~the ways that dont work~
they sort of doomed themselves in a way

The way all these threads of stanning / nonstanning are in play itt remains interesting to me (despite what I wrote yesterday).

Like, there's a caricature of Paul as too eager to please. Music-hall tunesmith, somewhat melodically gifted, too much in love with his corny/choochy output to edit himself sufficiently. In public persona, cuddly and cute but in collaboration, a domineering tyrant. Hence, fake (where "fake" is the ultimate bad word for someone whose job is to make noises that cause happiness in teenagers).

This narrative goes nicely with the caricature of John as a more authentic artist, a more committed activist, less eager to please and therefore realer. His snark, his sneer, his habit of resisting public expectations, his hostility to fans and to fandom... all are points in his favor because he's, well, you know, more real or whatever. (Where "real" is the ultimate compliment for someone whose job is to make noises that cause happiness in teenagers.)

If you follow this caricature version out to their solo careers it is easy to embrace the notion that Paul's tragic flaw is trying to please everyone (which John mitigated when they were songwriting partners). And John's tragic flaw is trying to please no one (which Paul mitigated when they were songwriting partners).

I think both of those narratives are oversimplified, and if it takes 800 hours of footage to complicate the picture, well, bring it on. Stans of Saint John might begin to understand that he was a dick, often full of completely irrational hostility, and not in ways that indicate his artistic purity. They can also gain some appreciation for Paul's work ethic and the simple fact that he is/was a very talented musician, and the world is richer for him having been in it.

We all love George's music but even still, sometimes it's hard to root for him even if you instinctively root for underdogs.

Have to also add that on a personal/professional/nerdy level as a film/tv editor and being fully cognizant that this thing is comprised of loads of loose snippets as well as fully synced video/audio -- there is a ton of cheesy editing here done mainly in the use of reaction shots.

^^^ also, repeating the exact SAME reaction shot within seconds. Kind of knew there was going to her some editing shenanigans going into this though.

Thought George was hilarious when reacting to everyone's goofy concert ideas overseas: "We still haven't made our money back from Magical Mystery Tour!"

And Ringo comes across so sweet - particularly when watching Paul play piano: "We should just film this."

when theyre all sitting morosely at the end of part 1 after george has left and MLH pipes up “should we discuss the concert”, like OMG READ THE ROOM

George Martin, himself a man who repeatedly condescended to George (and to his credit spent decades apologizing for it), got it right in the Harrison doc: "John and Paul had each other to play against...George had to do it himself." God knows how George's considerable melodic talent + musicianship might have benefited from the nourishment of actual Harrison-Lennon or Harrison-McCartney collaborations. It's a miracle he came up with "Something," "Here Comes the Sun," and an album or two of solo chestnuts.

OTM the narratives are oversimplified. It's Christgau and the other boomers who advanced the John is Genius narrative, repelled by Paul's "professionalism" or whatever. Many of Harrison's mid '70s albums are glum, grotty affairs, but they're no worse than Paul and John's (which, again, is not to suggest his talent was equal to theirs).

I guess many of us too young to have known The Beatles as occupants of the center of popular culture remember the Ironic George of the Cloud Nine-Wilburys-Anthology who, finally nourished by the genuine respect from Orbison (!), Dylan (!!), etc., emerges as a singularly acerbic and anti-nostalgic voice from a generation replete with too many fatheaded sentimentalists. Maybe Paul, with his ad man's instinct, ceded so much ground to George in the Anthology because he recognized George was simply a better camera subject; it's easy to think if you knew nothing about the Beatles that, watching the thing, George was the leader, not John or Paul.

Finally, when y'all get to the final third, a discussion occurs about how the film will look. George assures everyone that the 16mm film will look fine if blown up to 35 mm. Paul -- immediately, without pausing for breath -- says NOPE SORRY YOU'E WRONG THEY LOOK LIKE CRAP. Lindsay-Hogg or someone steps in and says, "Um, well, actually, he's right."

And George would be the only one to produce films twenty years later.

john & paul writing together from the start while absolutely critical to their success definitely poisoned the creative well for the band as a whole

There's a part in the Lewisohn book where he talks about the second contract L&M signed with Epstein in October 62, specifically to do with their songwriting.

George perceived a subtle shift in the Beatles' chemistry, as George would put it, 'An attitude came over John and Paul of "We're the grooves and you two just watch it"'

the Dick James interlude in part 1 def underscores that fact