The Mersey Beat... what happens next?

As I've alluded to in the screenplay, the Mersey Beat is a polyrhythmic effect that centers around a constant pulse which entrains the listener. That means that the boys were never perfectly in sync; each one was doing a slightly different groove that became one beat via the alchemy of rock'n'roll. - The Māori showband beat is very similar, so it was natural for me. Iambic pentameter isn't natural for Māori's -- our feet are more like morse code, hence all the sprung rhythms in my lyrics. - The problem is that Spotify and YouTube have been using autotuned versions and quantised versions for a long time now. Giles and later people have altered them. I'm listening to FLAC versions of the 2009 remasters. Sony wants to own new autotuned versions via their movies: it's a giant scam, not a film. It would add something like 30% to their annual Beatles revenue. Of course, this presumes they still own the publishing rights, but Apple Corps disagrees. Paul and Yoko completed their buyback in April. They're trying to grab the complete music rights and dump the masters in a ditch. Amanda Happens To The Beatles isn't theirs; Apple gave me a separate licence. They own it, while I'll get the mechanical royalties. - Listening to the covers album with Stephen. He was there, so he remembers it well. Apparently he really wrote I'm So Happy To Dance With You. Paul likened them to Technicolour where the Beatles had been in black-and-white. As we did them largely on LSD, they really do capture the Sixties! Apple Corps wants me to finish The Beatles Invade The Establishment! If I come up to England, that's definitely worth a go. A series of comic books is more likely than a film: all the films brought us was deaths. - My reason for doing the film script was simple: getting people to join bands. Weeded Out had the same theme, which was the death of vernacular music. The boys told me that there's no music in the future. - Reminding everyone that Things We Said Today was their first anti-war song. Paul was being threatened with conscription. Britain didn't re-introduce CMT. In the second movie of our pitch, it was going to open with Paul and Jane holidaying on the Virgin Islands, then the boys doing it in a similar fashion to I Saw Her Standing There. Most of the Beatles anti-war songs are Paul's, while John wrote his with Yoko. - To clear up the legal confusions: Even if my covers weren't officially assigned, Sony would have to buy them. They didn't produce those tracks, and Peter's AI/ML wasn't involved. They're making mechanical reproductions of my physical performances. Even to use them as training, I'm owed royalties. Apple Corps owns them. Any income generated this year is theirs, not yours. It says produced by Apple Records: that's a clear hint. If I'm delusional and never met Paul, so be it, but the legalities are plain. Those covers aren't inherently or immediately the property of WingNut or Sony. I sent him all those Facebook messages and tapes to create a paper trail. Even if I'd just been an overzealous fan, I'd have received a cease-and-desist. If I'm the best Beatle impersonator since Don, you owe me money. Or are transgender people not entitled to the same salary as cisgender musicians? ... As we've established, my scripts were written on WriterDuet. Only I have the timestamps generated from access to their server. Even if Peter and Fran made constant backups to screw me over, that's the wrinkle. The WGA would be incredibly pissed if they made any type of claim. They were written on spec, and I have no contract with WingNut or Apple Corps. Paul was supposed to pay me £30,000. I didn't want to ask for too much, but that's a year's salary at my day job. WriterDuet was created for this reason. See: writers aren't just monkeys! ... Paul used their remote access to watch me. That access was completely illegal. I'm pissed that they didn't care about my Shipwrecked film: it was all a plot. McCartney and Sondheim were used as carrots to make them rich. Taking backups off my computer is illegal. As is using porn to control me. Taking them off Facebook is also illegal. I've got a lot of versions saved on my laptop. It doesn't matter whether Paul ever heard of me or not; I did a lot of hard work, and I'm expecting to get paid for six years in the trenches writing films for nothing, as well as retaining my rights to Shipwrecked on Islands! Sony tried to buy me off, saying they'd give me a good recommendation from McCartney if I were to get out of the way and licence my junk to them for nothing. I gave Fran a piece of my mind a couple of days ago regarding this, which is why they're attempting to be conciliatory. She even believed I changed my name just to hurt Luxon, which makes her an evil sneak: I'd shown those diary entries several times before. She's right to be upset if Peter died, but blaming me isn't the answer. He's the one that put me up to writing with Paul. Clearly he was the real hippie. Haven't seen one dollar from Working For Each Other or any other films in the trilogy, but I hear that they've done rather well. Didn't use any of Peter's AI tech, only DDG and very small amounts of Runway ML. - Up to Rubber Soul songs: the shift towards the Summer of Love is quite clear. The songs become more soul-revealing, which is the meaning of psychedelic. This was when they began to take them daily. - Yellow Submarine (the song) really is a reference to hard drugs. Given it was a children's song, that's rather interesting. Something reeks of cocaine. Maxwell's Silver Hammer is really about MAD (Mutually Assured Destruction). Only realised it after making the clip for the movie. - As for psychic warfare: I think we've seen that's where I'm truly Beatle-like. I'm able to resist all your bullshit, while I've scared the shit out of y'all. All that stuff only works because you all listen to my music. That's what the orb in Yellow Submarine means: their recorded selves. My orb is big news thanks to your attempts to milk my songs for quick cash. The idea that my brain killed people is implausible, but stress probably did. It's easy to feel stressed when you're cheats and I'm reasonably good. If I'm not insane, Paul and I opened our minds to each other, as did Michelle. That's how I found them in London. I don't know how it works either. He told me he loved my version of Maybe I'm Amazed: dug the bluesy style.