In the bestselling novel Daisy Jones & the Six by Taylor Jenkins Reid, a fictional band from the 1970s that is strikingly similar to Fleetwood Mac experiences an exuberant rise and chaotic decline.
It was able to catch the glitz, the hedonism, the freedom, the thrill of unleashing talent, the agony of addiction, while also creating an impressive psychological portrait of each character and the connections between them all.
Reese Purchased Rights (Daisy Jones & the Six)
Love, anger, sexual and creative tension, insecurities, and enormous personalities clash, rebound, and send shockwaves back into and beyond the group, compounding their errors but also producing the alchemy that results in great music. Reese Witherspoon duly purchased the rights to this novel, which was written with television in mind-down to the way it is organized, with the band members being interviewed for a documentary 20 years after they split up.
The outcome is a glitzy, Ten-Part Prime Video version that was created by James Ponsoldt, Michael H. Weber, and Scott Neustadter. This series has been released on 3 March. They have maintained the style and glitz-everyone and everything in it is utterly gorgeous but they have fallen short of replicating Jenkins Reid’s great achievement, which was to elicit sympathy for this group of gifted, fortunate individuals who couldn’t maintain their composure long enough to succeed and who hurt a lot of people in the process.
Tale of Going through Rags to Riches
It is a tale of going from rags to riches to marginally less ragged rags. Brothers Billy (Sam Claflin) and Graham Dunne (Will Harrison), along with three other childhood pals from Pittsburgh, decide to start a band in an effort to leave their hometown.
They make it to LA and are on the verge of fame when Billy’s addictions overtake him and he enters rehab with the addition of Karen Sirko (Suki Waterhouse), a poached member of another band and an unrequited love interest for Graham.
Teddy Price (Tom Wright), their manager, places them with Daisy Jones (Riley Keough), a stunning, charismatic singer-songwriter with a slightly forced fiery spirit and anachronistic feminist consciousness, as soon as he exits (present in the book but bumped up here). She and singer and fellow lyricist Billy have a chemistry that makes them successful on a national scale while also planting the seeds of their demise.
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The first two episodes are fun, as we track the band paying their dues in dingy clubs while Daisy hones her craft, befriends “disco pioneer” Simone Jackson (Nabiyah Be) and learns how treacherous the business can be. She has songs poached after playing them in private to unscrupulous boyfriends and is expected to aspire no higher than being a muse to men.
Daisy Jones & the Six never truly comes to life, even though the series acquires more weight once Billy leaves rehab and more torque once Daisy shows up. Everything is a little bit too clean and organise.
