And the original music attributed to Daisy and her bandmates is designed to fit right alongside those existing hits, with tracks produced by Blake Mills and written by the likes of Phoebe Bridgers, Marcus Mumford and Jackson Browne - though truth be told, they’re more fun to watch performed onscreen with meaningful gazes and white-hot glares than they are to listen to on their own.įor all its specificity in certain areas, however, Daisy Jones & The Six is surprisingly careless about others.
The soundtrack is a meticulously curated collection of the period’s defining music, from Patti Smith, whose “Dancing Barefoot” serves as the show’s opening credits theme, to The Rolling Stones, whose “Shine a Light” plays over the finale’s end credits. That attention to detail carries over to the enviable costumes by Denise Wingate and location work that captures Sunset Strip institutions like the Troubadour and the Whiskey-A-Go-Go in all their glam-grimy glory. We can see the exact moment in their first songwriting session when Billy goes from being annoyed by his new collaborator to being irretrievably in love with her. His camera captures every nuance of the actors’ facial expressions, from the twinkle in Daisy’s eye that suggests she’s always in on the joke to the symphony of shame that plays across an older Billy’s face while he confronts one of his most painful memories. Though the sparks between Claflin and Keough aren’t quite as instantaneous as the dialogue might have us believe, James Ponsoldt, who directed the first five episodes, does a fine job of building their chemistry over time. Opposite such a bright star, Billy can’t help but seem low-key - though Claflin’s never been more appealing than he is here, channeling some of Billy Crudup’s dirtbag energy from Almost Famous. Above all, they manage to capture Daisy’s electric energy in Keough, who carries herself with rock-star swagger worthy of her real-life lineage. Weber preserve not only the plot but the oral-history format, translated here as documentary-style interviews with the central figures conducted 20 years after their implosion.
#REIKEY MAC REVIEW SERIES#
What the series lacks in edge, it makes up for with crowd-pleasing fidelity.
Here, the main players are lead singer-songwriters Daisy and Billy, whose mutual attraction both fuels and threatens their creative work Graham (Will Harrison), Billy’s loyal brother and guitarist, who harbors a longstanding crush on no-nonsense keyboardist Karen (Suki Waterhouse) bassist Eddie (Josh Whitehouse), whose resentment of Billy goes back to the Six’s earliest days and drummer Warren (Sebastian Chacon), a genial party animal who mostly remains above the fray. Weberĭaisy Jones & The Six‘s ten 45-minute episodes chronicle the birth and rise of its titular group, which isn’t exactly Fleetwood Mac but is clearly inspired by Fleetwood Mac, and specifically by the personal turmoil of their Rumours era. Cast: Riley Keough, Sam Claflin, Camila Morrone, Suki Waterhouse, Will Harrison, Josh Whitehouse, Sebastian Chacon, Nabiyah Be, Tom Wright, Timothy Olyphantĭeveloped by: Scott Neustadter, Michael H.
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