![]() ![]() There’s little of the swirling heedlessness of blossoming attraction here, even as characters grow ever more attracted to one another in the heated space of creative partnership. All of this is conveyed in an even, almost clinical, tone, perhaps fitting the fact that we’re being told this story by characters looking back with regret. Tied together by an act of producing genius and a benevolent disregard for personality dynamics, Daisy Jones and the band she hijacks make perfect tunes together, all while she and Billy circle one another, with an air of grudging mistrust both of one another and themselves. Weber and a production of Reese Witherspoon’s Hello Sunshine, this series presents a “Behind the Music” tale at 10 episodes’ length. “They wouldn’t let me leave!,” she laughs, a fount of charismatic self-delusion.Ĭreated by Scott Neustadter and Michael H. As we watch Daisy, in the 1970s, stomp over the Six in an act of willful spotlight-seizing, we hear Daisy, in the 1990s, tell us that this was simply beyond her control. We hear the characters speak to us as if for a documentary (a device retained from the novel, which is written in oral-history style). Unlike Fleetwood Mac, which continued to wring soapsuds out of their public narrative into the 21st century, Daisy Jones & the Six definitively break up in 1977, which we’re told at the start of this series the war they fight after the struggle for control is one of defining the narrative. Reid has described her novel as “a Fleetwood Mac vibe,” if not precisely drawn from Fleetwood Mac’s story - and, as with the real-life Stevie Nicks and Lindsey Buckingham, the two musicians at the center of this fictional group generate as much drama as they do music. ![]() That rivalry is the essence of “Daisy Jones & the Six,” a flawed but compelling adaptation of Taylor Jenkins Reid’s 2019 novel of the same name.
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