DaisyJonesAndTheSix invokes the legacy of Fleetwood Mac, but in execution, spends much time gesturing toward a grandiosity it never achieves. Read rilaws’ review:
The recent death of the great Christine McVie, singer-songwriter-keyboardist for Fleetwood Mac, was yet another occasion to revisit her band’s staggering catalog of music—a swirling, soaring, thrashing array of tunes so iconic it’s almost hard to believe they’re all from the same group. Particularly, there is the 1977 album, perhaps as seismic a record as has ever existed in the world of pop-rock.
That’s a heady, exciting premise for a series, an opportunity to take a longform, behind-the-scenes tour of the creative furnace, with all its attendant squabbling and romance, drugs and disillusionment. And, of course, there might be the fun game of drawing connections between the characters on screen and who we can infer are their real-life counterparts. Though set in the hazy past,had the potential to capture a contemporary zeitgeist, modern television verve commingling with shaggy nostalgia.
The series employs a faux-documentary framing technique, with characters reflecting on their pasts in mock interviews. That ought to be a clever way for the show’s writers to foreshadow, to tempt us with tantalizing hints about the drama to come. Instead, it becomes a hindrance.
Or so the series tells us, without committing to the showing of it. Throughout its often tedious run,favors pleasant vibes over anything so tricky as genuine darkness or intractable conflict. Nothing feels very high stakes; Daisy and Billy’s almost-romance is, I think, meant to be tortured, operatic, even dangerous. And yet it never rises above the level of misguided flirtation. Little is risked on the series—the show’s writers are determined to maintain everyone’s likability.
Maybe the calculation was that the show’s music would conjure up the emotion that its plodding writing cannot. The musicianhas composed an album’s worth of songs, which will be released alongside the show. These tracks are catchy and amiable, echoing some harder rock here, some folky-witchy balladeering there. It’s kind of Fleetwood-ish, in its beery melancholy and its balancing of artistry with accessibility.
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