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“THE DEVIL’S CHORD: MUSIC, MAESTRO, AND A MELODY OF MAYHEM”

Season 1’s first historical episode, The Devil’s Chord, takes Doctor Who back to the early 1960s, just as The Beatles were about to revolutionise pop culture—only for music itself to vanish from the world. The cause? A mischievous, malevolent deity known as Maestro, the self-proclaimed God of Music, whose existence is tied to the 14th Doctor’s meddling at the end of the universe in Wild Blue Yonder.

From the outset, the episode establishes its stakes brilliantly. The eerie opening sequence in 1925 introduces the concept of the Devil’s Chord and the chemistry of music, setting up Maestro as a flamboyant and terrifying force of chaos. Their theatrical, larger-than-life entrance—emerging from a piano—is instantly iconic, and the way this moment ripples through time, depriving the 1960s of its musical revolution, is a compelling premise.

A WORLD WITHOUT MUSIC?

The core idea of an entity feeding on music and thriving in its absence is both chilling and fascinating. Music is deeply ingrained in human culture, and the episode makes a strong case for its importance—not just as entertainment, but as an emotional outlet, a means of rebellion, and a force of unity. The Devil’s Chord itself, a real musical concept, adds an extra layer of intrigue, reinforcing the mystical power of sound.

One of the best moments comes when the Doctor and Ruby stumble upon a recording session featuring The Beatles—only to realise that something is deeply wrong. The song they’re performing, I’ve Got a Dog, is absurdly silly, yet it perfectly captures the charm of an early Beatles track. It’s a great way of showing how history has been distorted without directly stating it.

THE BEATLES, BUT NOT QUITE

Bringing The Beatles into Doctor Who is a big deal, given how the show has largely avoided depicting real-life, still living celebrities in historical settings. However, their inclusion here feels somewhat underwhelming. While their melancholic, uninspired state effectively highlights the impact of Maestro’s interference, the episode never quite integrates them into the plot beyond serving as a cautionary example. They’re symbols rather than active participants, and considering their cultural significance, they could have been used more meaningfully.

That said, the era itself is beautifully recreated, with period-accurate costuming and production design. It’s also amusing that Ruby, rather than the Doctor, is the one insisting on period-appropriate clothing. While Ncuti Gatwa’s frequent costume changes throughout the season can feel excessive, his 1960s ensemble is undeniably stylish and adds to the episode’s immersive aesthetic.

DOCTOR VS. MAESTRO: A BATTLE OF WITS AND SOUND

Jinkx Monsoon absolutely owns the role of Maestro, delivering one of the most memorable performances of the season. Their theatricality, combined with an undercurrent of genuine menace, makes them a compelling adversary. Their chilling rendition of the Giggle ties them directly to the Toymaker, reinforcing the idea that they are part of the Pantheon of Gods.

Most of the episode’s second half plays out as an extended battle of wits between the Doctor and Maestro, echoing his confrontation with the Toymaker. The Doctor’s initial sonic attack, which momentarily strips the world of all sound, is a striking moment, demonstrating just how powerful these gods are. This is also the first time we see the Fifteenth Doctor genuinely afraid and out of his depth—a crucial moment that makes him more relatable and raises the stakes.

Ruby, meanwhile, plays a key role in helping the Doctor regain his confidence. The moment where he shows her a bleak, musicless future—a subtle nod to Pyramids of Mars—adds weight to their battle against Maestro. The concept of "living notes" attacking people is a clever visual idea, reinforcing how deeply Maestro's powers are entwined with music itself.

BREAKING THE FOURTH WALL, BEATING THE GAME

The episode isn’t afraid to be playful, with one of the best gags being the “I thought it was non-diegetic” moment—one of several times this season where the Doctor cheekily breaks the fourth wall.

Like the Toymaker before them, Maestro is bound by a set of cosmic rules, which the Doctor must unravel. His initial attempt to defeat them through a musical showdown is fantastic, only for him to stumble at the last moment—forcing John Lennon and Paul McCartney to step in. The final confrontation, in which the Doctor defiantly plays the exact chord needed to banish Maestro, is an intense and satisfying conclusion. It also showcases a darker edge to this Doctor, willing to do whatever it takes to defeat his enemies.

A GRAND MUSICAL FINALE

The episode’s final surprise is its most joyous: a full-blown musical number as music returns to the world. It’s completely unnecessary from a plot standpoint, but it’s an absolute delight—pure, unrestrained fun that celebrates the very thing the story is about. Even if the song itself isn’t exactly a masterpiece, the sheer energy of the scene makes it a perfect way to close out the adventure.

📝VERDICT: 8/10

The Devil’s Chord is a wildly imaginative, audacious episode that blends history, music, and mythology into a uniquely Doctor Who experience. Jinkx Monsoon steals every scene as the flamboyant yet terrifying Maestro, while the story effectively highlights the emotional and cultural power of music.

The Beatles' inclusion feels a little underdeveloped, and Maestro’s relentless theatricality may be a bit much at times, but the episode’s creativity, visual flair, and standout moments more than make up for it. The Doctor’s showdown with Maestro, the exploration of the Pantheon of Gods, and the final musical spectacle make this an unforgettable instalment.