Daisy Jones & The Six Season 1 Episodes 7 and 8 Review: Look At Us Now

Daisy Jones & the Six‘s tour era puts on a memorable show.

Daisy Jones & The Six Season 1 Episode 7 and 8, “Track 7: She’s Gone / Track 8: Looks Like We Made It,” continues to amp up the insatiable likeability of this show with a mixture of hauntingly beautiful imperfections and conflicting storytelling.

Daisy and Billy’s jagged performance makes this fall from fame all the more intoxicating to watch as the plot thickens and the vices take over.

The Road Life

The Six on tour may be my favorite iteration of this band yet.

It is the perfect molotov cocktail of conflict. First, Daisy Jones spends hours testing the tenderness of each relationship (except for Warren and his boats). Then we put that ensemble in a confined space with drugs and alcohol to see what happens.

It’s a brilliant concoction maintained by Timothy Olyphant’s Rod Reyes. The prodigal tour manager returns, bringing his cooky wigs with him.

Olyphant lends a much-needed humility and counter-commentary to the band, who are too high to be humble on the road.

Together there’s little the supporting ensemble can do wrong as they cushion Billy and Daisy with tour bus shenanigans and quippy mouthing-off reminiscent of the cockiest rock stars.

Simone Stands Alone

There are two dueling journeys to Episode 7 — one that champions Simone’s coming out and one that uses her sexuality as shameful collateral.

This stand-alone outing for Simone is phenomenal, from the retro title cards to the magical dance montages. Simone’s time in New York City is brief but impactful as she explores her career and sexuality in the disco club scene.

Bernie and Simone’s romantic adventures in stardom strike a perfect balance of fantasy and realism without sugarcoating Simone’s hesitation.

For a brief time, Daisy Jones & The Six gives us a wholesome LGBTQIA+ romance in the seventies rock ‘n’ roll scene with no strings (or prejudices) attached.

Inevitably, “Track 7: She’s Gone” punishes Simone for her sexuality to further the plot.

Nicky is an egotistical junkie. There is enough conflict to confirm he is bad news, and there are more effective ways to get Daisy off that island without using Simone as collateral.

The episode conveys how lost Daisy is but dodges her struggle too often to justify that final blow to her friendship. Daisy accusing Simone of being in love with her is a painfully realistic experience, out of place in an episode clinging to escapism.

It also doesn’t validate the choice to explore Simone’s sexuality just to have her branded a predator to spice up this adaptation.

A Heartbreaking Encore

Choices are made, and it is ultimately Billy who finds Daisy overdosing after storming over to kick her out of the band — because, of course, that’s what he was doing.

Sam Claflin does not waste that change to the source material, though.

He gives his best performance as Billy yet. Then, something cracks open in the stubborn rock and roll singer, and bitter sorrow comes pouring out at the sight of Daisy.

I don’t know what presents a greater chill up the spine — Billy taking one look at Nicky or that final shot of Daisy’s eyes trained on Billy before the credits.

Hell, even Olyphant speaking calmly in code over the phone proves bone-chilling.

Every element of this scene is meticulously thought out, from the dialogue restraint to the shower setting.

This series may not always understand its adaptation, but it understands Daisy’s overdose is the linchpin to this soap opera’s final performance.

The haunting second act sets the tone for the final episodes, with Daisy Jones intent on keeping its biggest bombshells for last.

But with Teddy briefly seen getting into his new sports car, Karen and Warren having spontaneous spite sex, and Nicky fleeing his wife, The Six’s downfall has begun.

Here’s hoping this show can survive the impact.

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New episodes of Daisy Jones & The Six stream Fridays on Prime Video.

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