Both aspects of Keough come into play as Daisy blazes through the Six, with an impassioned sense of what she wants to achieve and an inability to acknowledge the obstacles in her way. I had read Keough as preternaturally cold-blooded after her sharp turn in the superlative 2016 first season of “The Girlfriend Experience,” in which she radiates a low-affect contempt for the world around her it was only her work as a shameless, living-out-loud grifter in the 2021 film “Zola” that her explosive quality as a performer, her ability to find an actual rhythm within madness, became clear. ![]() Daisy Jones, who choses a new name after a childhood of neglect, is a hell of a role, and Riley Keough grabs it with both hands. And Claflin, never more watchable than when he’s watching Daisy, sells the struggle nicely, so much so that the struggle catches our attention more than any sparks Daisy and Billy generate.īut then, she is primarily interested in herself - which is not to say she’s a narcissist, just someone who acknowledges she’s a born star. (The genuinely tuneful and lovely music they make was written for the show by Blake Mills.) Billy, anyway, is trying to keep himself from falling in love: At least notionally committed to the mother of his child (Camila Morrone), he has the misfortune of being professionally connected with someone we’re credibly informed is her generation’s most charismatic star. 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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