In the finale, Daisy Jones is more ambitious and freer in its unadulterated melodrama.
could have gone another hour, and I would have kept watching. Its structure could have been the backbone of the whole telling. The documentary footage proved wispy over time — interviews were reduced to a series of revealing looks. Even when directly posed hard questions, albeit by Billy’s daughter, the bands’ real answers were hidden in what they left unsaid.
Sam Claflin and Riley Keough have done as much with Billy and Daisy as I think is humanly possible. Given only a handful of chances to really let rip, they’ve wrung every drop of passion from a script that has kept its thumb squarely on the “they won’t” side of the will-they/won’t-they scale. They open the Chicago show trading insults on “Regret Me,” but Daisy and Billy could sing “Happy Birthday” and this crowd would call in requests to the local radio station.
It goes on like this all episode, angsty and melodramatic: Camila and Billy fight; Daisy and Billy fight; Camila and Daisy fight because even though a distraught Daisy tells her what she wants to hear — that she and Billy aren’t having an affair and never will — she doesn’t say it the way Camila wants to hear it, with an emphasis on true love rather than the inescapable bonds of wedlock.
Because Daisy wanted to be with Billy, and the manic version that’s mauling her backstage between the last song and the encore is not the guy she made an album of love songs with. “Let’s be broken together,” Billy tells her. If he can’t be happy with Camila, at least he can be deliriously miserable with Daisy. But that’s what Billy’s never really understood about Daisy, going back to the day they spent writing their first song together — “Easy song” — at Teddy’s house.
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