Daisy Jones and The Six (Pilot Review) | This is Meticulous and Purposeful
Not sure if this has ever happened to me before but #DaisyJonesAndTheSix makes me regret not taking the time to read the book. WOW
#RileyKeough #SamClaflin @Iamthepuma @thisisweber @daisyjonesand6 @PrimeVideo
Scoot Neustadter & Michael H. Weber (Creators), Taylor Jenkins Reid (Novel)CASTRiley KeoughSam ClaflinCamila MorroneSuki WaterhouseWill HarrisonJosh WhitehouseSebastian ChaconNabiyah BeTom WrightTimothy Olyphant
Review
I had time to read the book this is based on, but I wasn’t willing because some books, some genres of books have a time and/or a mood for me to read. So I went in blind and right…
Someone looked at the aesthetics of the Bradley Cooper 2019 Star is Born and asked “What if we made this about a Fleetwood Mac tribute act?”
Let’s have a look at another one of Amazon’s questionably expensive follies within the streaming world. Daisy Jones and the Six a mini-series adaptation of the popular Taylor Jenkins Read novel via Reese Witherspoon‘s Hello Sunshine brand It’s effectively what would happen if one attempted to pair the added grit and attempted to ground aesthetic from the Bradley Cooper version of A Star Is Born…
Constantly thinking about the consistently prophetic nature of so many of the songs in DJATS.
Billy and Daisy write 'Honeycomb' ('we could make a good thing bad...how did we get here? how do we get out? we used to be something to see, oh baby look at us now') as their first song and then, three years later, those lyrics coming to fruition at the Chicago concert and everything really has unravelled, which is the most obvious cyclical narrative choice. Daisy writes 'Type of Guy' ('you're the type of guy who doesn't wanna talk about it anymore...what can make you laugh can make you cry, and I'm that same type of guy'), a song seemingly about seeing so much of yourself in another person, right after performing on stage with Billy for the first time (she barely knows him and yet already recognises parts of herself in him like??), linking to Daisy's confession to Nicky in episode 7 ('I think I thought we were soulmates') and Billy's to Camila in episode 10 ('she just sees me, the all of me').
Again, Daisy and Billy writing 'Let Me Down Easy' in their first sonngwriting session together which encapsulates sentiments so intrinsically linked to the push and pull of their relationship that they haven't truly experienced yet, Daisy asking him not to string her along if he's not going to choose her, Billy pining after her even though he knows he shouldn't ('don't leave me broken and free') and it can never be ('like a mirage on sand'). Billy writing 'more fun to kiss, than to be with' when he hadn't done that at all and then making up for it while (attempting) recording. Hell, even even Daisy's song in episode 1 ('By Myself') is a bit of a foreshadow to episode 8, and the choice of song playing in the background at Teddy's house in episode 5 ('it's too late to turn back now...i believe i'm falling in love') is also cool.
Not an especially niche observation or unique narrative tool, but it's nice when all parts of the production are used to tell the story.
Do you have any more Camilabilly Headcanons? I just love hearing your Headcanons.
That short video of Sam saying speaking Spanish gave me an idea of the two of them watching Latin American telenovelas together (I hope these were available to watch in the US at that time--otherwise my headcanon is gone!). They always have one telenovela they follow; they get the episodes taped so that they can watch together. Billy's always like "Jesus this is so stupid!" but never misses an episode. (Argentina had some good ones, I mean I presume they still produce them.)
Actually. Since you're asking. I've not mentioned it here yet, but I created a whole different AU bc I cannot accept what the show has done. I'm okay with the book, bc Billy and Camila got to live happily together for decades, but I'm not okay with the show. I'm not normally like this, I'm fine with the canon majority of the time (it probably doesn't appear so at the moment, bc I recently posted about Finnick not dying, but that I think most of the fandom agrees on, and it was a mistake by the author to kill him off). But then, it's questionable how the TV show is "canon" since it had to make so many changes--for the worse--to Camila and Billy's relationship, so that they could push their D/B agenda. So I told myself, fuck it and made it my own.
Basically, Camila doesn't die and gets to live till the age of 97. She outlives all her peers. This means that right now, in 2024, she is still alive. She should be in her 70s...or 80s? Thereabouts. The documentary still gets made, but it's something else that prompts it. There are many ideas you can play with. At first I thought of Camila getting sick, but recovering. Then of having a health scare, but she ends up being okay. Then it occurred to me that maybe both she and Billy lose family members in close succession (parents, most likely), which obvs brings out a lot of feelings. But it could also be something much simpler, like the Dunnes having a big clearout and finding some old photos and things related to the band, or Camila organising her pics and recordings, or digitalising them, and this takes her down the memory lane (photographs have that power). It's Julia's idea to make the documentary, bc she makes documentaries.
‘Daisy Jones’ Producers ‘Not Giving Up’ on Live Concert and Season 2: ‘There’s a Lot of Life Left to Live’
Any plans to stage a real-life “Daisy Jones & the Six” concert had to be scrubbed in the wake of the SAG-AFTRA strike, but the Neustadters say they hope something can still happen one day. “We’re not giving up,” Lauren says. “I believe they will perform. the question is when.”
And even though “Daisy Jones” was billed as a limited series, why couldn’t the band stage a Fleetwood Mac-like comeback, which (with the participation of Reid) could always be the basis for another season? “If any time Amazon came to us and said, ‘what would it be?,’ we would put our little thinking caps on about it,” Lauren says. Adds Scott: “It’s super fun to sit and talk to Taylor for hours about where we think we could take this next. It was a calculated move to move [the flash forwards] to their 40s. There’s a lot of life left to live, so there could be a future.”
So basically, if you want a season two, let Amazon know...
"The Spectacular Now" filmi, James Ponsoldt'un yönetmenliğini üstlendiği ve Scott Neustadter ile Michael H. Weber'in senaryosunu kaleme aldığı 2013 yapımı bir romantik drama filmidir. Film, Tim Tharp'ın aynı adlı romanından uyarlanmıştır.
Film, lise mezunu ve popüler bir genç olan Sutter Keely'nin (Miles Teller) hikayesini anlatır. Sutter, parti sever, sıradışı bir kişiliğe sahiptir ancak hayatının kontrolünü kaybetmiş gibi görünmektedir. Bir gün sarhoş bir şekilde kendisini bulan Aimee Finicky (Shailene Woodley) ile tanışır. Aimee, daha içine kapanık ve hedefleri olan bir genç kızdır. İkisi arasındaki ilişki, Sutter'ın hayatındaki dengeleri değiştirecek ve olgunlaşma sürecini başlatacaktır.
Film, gençlik dönemiyle ilgili karmaşık duyguları ve olgunlaşma sürecini anlamlı bir şekilde işliyor. Karakterlerin derinliği, performansların etkileyici olması ve gerçekçi hikayesiyle dikkat çekiyor. Olgunlaşma, kişisel sorumluluk ve ilişkiler gibi evrensel temalar üzerine düşündüren bir film arıyorsanız, bu filmi değerlendirebilirsiniz.
Cast: Kaitlyn Dever, Isabela Merced, Sean Teale, Kyle Allen, Spencer Stevenson, Bradley Whitford, Christopher McDonald, Minnie Driver, Nico Hiraga. Screenplay: Scott Neustadter, Michael H. Weber, based on a novel by Rebecca Serle. Cinematography: Laurie Rose. Production design: Andrew McAlpine. Film editing: Jennifer Lee. Music: Drum & Lace, Ian Hultquist.
Rosaline is an amusing trifle, an exercise in parashakespeare like Rosencrantz and Guildenstern Are Dead (Tom Stoppard, 1990) or Shakespeare in Love (John Madden, 1998), though I'm sure neither screenwriters Scott Neustadter and Michael H. Weber nor Rebecca Serle, the author of the book on which Rosaline is based, would be eager to invite comparison with Stoppard's erudition and wit. In Romeo and Juliet, Rosaline is only a plot device: Juliet's cousin, with whom Romeo is infatuated, she's never seen in the play, but serves only, via the teasing of his friends, to emphasize Romeo's bent toward romantic ardor. The film casually turns the play on its head, converting tragedy into rom-com, as Kaitlyn Dever's Rosaline gets her revenge on Romeo's fickleness by trying to make him fall out of love with Juliet. Dever is a fine comic actress, and she gets good support from the rest of the cast. Kyle Allen, looking a bit like Heath Ledger in another parashakespearean movie, 10 Things I Hate About You (Gil Junger, 1999), plays Romeo as a lovestruck goof. His Juliet (Isabela Merced) is a faux naïf from the country, who manages to get the upper hand on the manipulative Rosaline. (There's a mid-credits scene at the end that suggests things will not go smoothly for Romeo and Juliet after they escape Verona by means of a fake death.) Bradley Whitford plays Rosaline's father, determined to marry off his independent-minded daughter. After a series of superannuated suitors whom Rosaline manages to scare off, he comes up with the handsome young Dario (Sean Teale), whom she initially rejects, but everyone who has ever seen a rom-com knows she will eventually fall for. There are nice comic bits from Spencer Stevenson as Paris, Rosaline's gay best friend who gets roped into an engagement with Juliet, and Nico Hiraga as Steve the Courier, a stoner who delivers -- or fails to deliver -- the crucial messages that in the original play would precipitate tragedy. And while Juliet's nurse plays a key role in Shakespeare, she's only a bit part in the movie. Instead, there's Minnie Driver as Rosaline's nurse, indignantly insisting that she's a trained registered nurse, not a babysitter. The screenplay wisely jettisons any attempt to evoke Shakespearean language and adopts contemporary speech that jars amusingly with the period setting and costumes. Director Karen Maine keeps all this fluff nicely airborne.
Rated R for cursing, underage drinking and some drug use, and teens having sex.
Movie Synopsis: Sutter loves to party, drink, and has no plans for the future. Aimee is a nice girl who isn't part of the big crowds. The two find themselves attracted to each other despite being polar opposites after Sutter wakes up in Aimee's garden.
Review 3.4 stars
The Spectacular Now is a film that shows us the lives of teenagers in a raw way. It doesn't care for overcomplicated drama or flashy lifestyles; it simply flows through the motions from the perspective of "God's favorite drunk" Sutter Keely. However, production-wise the scenes feel short and distressed. Time flies by and relationships develop but as a viewer we aren't given enough time to process them before moving on to the next thing in order to fit into the hour-and-a-half time frame. This causes the characters -that feel like real-life teenagers- to lose their depths as well as time to explore their insecurities and complexities as humans. All in all good film and concept, but the editing and composition of the film leaves a lot to be desired.
“Most days of the year are unremarkable. They begin and they end with no lasting memory made in between. Most days have no impact on the course of a life.”
500 days of summer, Scott Neustadter and Michael Weber