Daisy Jones & The Six, the Prime Video limited series based on the Taylor Jenkins Reid book of the same name, is out now! Despite the fact that episodes are dropping in batches, I will be recapping each and every one right here for you. From the formation of the band to its eventual collapse, we’re going along on this wild ride together
It is now, at episode 3, that I have realized these episodes are not titled “episode 3” but “Track 3”, with each title being the name of a song off an album. I was fairly certain these were song titles, but it’s very cool to see them fully leaning into the musical aspect of this show.
I have also recently learned that Riley Keough is the granddaughter of ELVIS PRESLEY. That’s so very cool. What a shame this show didn’t come out two months earlier to fully capitalize on all of the nepo baby discourse.
Track 3: Someone Saved My Life Tonight takes place in the aftermath of a The Six tour that led to Camila giving birth alone and Billy spiraling off the rails, and Daisy leaving her tape outside of Teddy’s door.
It appears like at least one of these things was a good decision, because Daisy is inside of Teddy’s house while he listens to the tape, ostensibly for the first time. Upon finishing, he asks Daisy if she wants a drink, and then asks how she’s doing.
Daisy isn’t having it. She wants to know if Teddy likes the tape, and she wants to know now. Teddy, pleased that Daisy is no longer fronting as if she doesn’t care, shares that he does enjoy it.
However, Daisy only has one good song— she needs 10 more.
“Give me a week” Daisy says, and Teddy just laughs.
We cut to the opening sequence, and words across the screen tell us that it’s now 1974. Our babies are growing up!
Graham picks up Billy from a rehab facility and starts talking about the band, but all Billy is focused on is meeting his daughter. When Graham pivots to start talking about how cute the young girl was, Billy starts sobbing.
The band had to cancel their tour for Billy to go into rehab, and Interview Graham says he didn’t understand addiction way back in 1974. He thought Billy drying out would mean that everything immediately goes back to how it used to be. Interview Eddie and Interview Warren share that they were dropped by the label and had to pay back their advance once the tour got canceled. Interview Eddie says that while he’s not still upset about it, Billy “really fucked [them] over”, which to me is a bit of mixed messaging.
The band is there to greet Billy outside when he returns home, and then Billy heads inside nervously. Camila is there with the baby and her mother, who looks none too happy to see Billy.
When Camila offers to let him pick up the baby, he stutters, not wanting to make the child mad, and Camila puts the girl down for a nap. She then tells Billy that since her mother is sleeping in the room with her, Billy should find somewhere else.
Billy, worn down from everything that happened, tells his brother that night that he’s out of the band. He doesn’t want to be like his own father. He also doesn’t want to tell the whole band that he’s out, he wants Graham to do it.
The younger boy refuses. “You can tell them yourself” he snaps, and then storms out. I feel so badly for all of them! Clearly touring is not great for Billy and his addiction, but also him dropping out means that all 4 of the rest will have to give up on their dream.
Writing isn’t going very well for Daisy either. She’s storming around her room, throwing things and groaning in frustration. The phone rings, and it’s someone calling to ask Simone to perform with them.
At the afterparty, Simone tells Daisy that she killed it and the band loves her. Simone also sees a hot butch woman across the room and heads over to talk to her. She actually is gay! Delightful!
The woman, Bernie, gives Simone an address for where she works— it’s in New York. When Simone is startled, Bernie worries that she read the woman wrong, but Simone was just surprised, and it looks like the two are really vibing.
At the same party, Daisy sees the ex that stole her music, and storms up to him. He laughs that her name used to be Margaret, and she says he never had a number one record. He refuses to thank her for the song, so she pushes him into the pool, singing the lyrics above him.
Billy officially tells the band that he quit, and Graham kicks him out of the house. Interview Karen shares that while bands do fall apart, she truly thought The Six was different.
Jobless and homeless, Billy sets off to work. He’s rebuilding a new house, exercising, and drinking smoothies. When the montage ends, we see that Camila and the baby have moved in.
All appears to be going well when Teddy arrives at the door. Billy obviously assumes that the guys enlisted their producer to help change his mind, and this is true, but Teddy is only there because he misses him. He’s glad that Billy seems to be doing the right thing.
This moment of faux father-son relationship is rather adorable. Billy Dunne never had a true dad of his own, and Teddy is doing such a great job filling that gap.
The rest of the band is trying to find a new lead singer to replace the one they lost at a party. While Graham has hope, Karen just wants to get drunk and talk about how she likes sex, she just doesn’t like attachment. She wants the tour life, nothing like what Billy and Camila have.
But in that moment, she’s horny enough to “fuck anyone”, and Graham makes a halfhearted grab at his opportunity. Karen, however, was talking about the hot man across the party from her, and Graham looks defeated as she walks off.
Interviews for a frontman are going terribly. Everyone sucks at singing, and they’re all a bit defeated. Eddie wants to do it himself.
Eventually, they agree to give him a shot, and he starts singing. Eddie’s good, definitely much better than any of the people they interviewed, and based on the glances the rest of them exchange, it looks like they’re going to let him do it.
Simone is performing her record. When she wants to do another take, the producer asks her to come into the room and listen, sharing that he already thinks it’s amazing. Then, he asks her to sit down and listen, and when she goes for the empty chair he yanks her into his lap, touching her leg far too high up.
Simone is upset, and after a few seconds leaps up, looking on the verge of tears. Life sucks for women!
By the time she gets home that night, she’s still upset. Daisy is playing guitar on the floor and asks the woman if she’s okay, and when she says “yeah”, Daisy doesn’t press any further. My heart is truly breaking.
Billy thinks that the right thing to do is for him and his family to move back to Pittsburgh. He can get a construction job, and they’ll be closer to family. Camila looks appalled. She didn’t move to California for Billy, she moved with him. And she wants to be in LA!
Billy starts to tear up and says that he’s weak and doesn’t know if he can survive California. It turns out that Billy still has not picked up his daughter, named Julia, and Camila yells at him for this, finally doing enough to convince him to try to pick up the girl. He does, and we’re treated to a montage of him holding and playing with the baby at various future times. Go daddy Billy!
Eddie is hanging out with Camila and the baby, and he asks her how everything can just go back to normal between her and Billy. She says that she doesn’t just stop loving someone when things get hard, and calls him out for not having been in love before.
We’re then treated to some Camila footage of everyone together on Christmas. After Billy gets the baby to sleep, he comes in and says that he has some music to play for them. Eddie says that they don’t want to hear it, and nobody else says anything, so Billy slips back out of the room.
Before he can get fully out, Eddie changes his mind and tells Billy he can play the song. Interview Eddie is asked why he even stayed, and Eddie says he asks himself that all the time. The lead man is back in charge, and Eddie is back to bass.
Billy plays his song for Teddy, and while the song is good, Teddy doesn’t think there’s anything they can do considering how many bridges Billy burned when he canceled the last tour to go to rehab.
Eventually, Teddy agrees to play it for the label, but they aren’t fans of giving the band a second chance.
Later on, Teddy is talking to Daisy and playing Billy’s song, and Daisy is immediately intrigued. He asks her what she’d do with it, and Interview Karen says the next thing they knew, they were booked in the studio— with Daisy.
Interview Graham says that Billy wasn’t thrilled, and in 1974 we see Billy complaining to Teddy about the song not even being a duet.
Daisy Jones flits in and asks for a glass of milk and whiskey, or just one if they don’t have the other. Teddy is generally delighted by the whole thing, despite the fact that it’s immediately clear Daisy has never recorded before. It’s also clear, as Eddie and Warren observe, that Daisy isn’t wearing any pants, instead opting for an oversized button down top.
When they start to play, Daisy instantly stops, uncomfortable with the whole band (“audience”) looking at her. They initially refuse to leave, but Karen suggests they go talk to Debbie, and once the boys leave she locks them out.
I love Karen Karen! I am also very disappointed that the show has opted to cut out the joke of her being called Karen Karen. In the book, she initially introduced herself by her first name twice, and so that’s what the band always called her.
It turns out that Daisy had written new lyrics for the song for her to sing, and when Billy hears it he’s deeply unhappy. Teddy hadn’t given him the lyrics beforehand! Billy thinks the song is about redemption, but Daisy doesn’t believe everything is left in the past. She wants to turn the speech into a conversation. Billy storms out.
In the hallway, we see that Debbie is a very hot girl, and the whole band is sitting outside chatting with her. Billy says he’s ready to kill someone, or himself, and then asks if he can have a moment alone with Teddy.
They argue for a while, and then Billy says that he doesn’t understand why, if the label loves the song, they need to change it.
That’s when Teddy finally tells him that the label passed. He’s paying for the session out of pocket.
Eddie and Warren are bitching in the hallway about having to sing with “some chick” when Teddy walks by and tells them that they’re the “heartbeat of the track”. This settles them down and they’re happy again. Men are simple.
Daisy is messing around in the mic, and finally Billy agrees to sing.
Once they’re both in the room, Teddy tells Billy that there’s a rattle in his mic and they need to do it on the same one. There is no rattle, but Teddy knows what he wants.
They sing together, and it’s truly incredible. They’re both so talented and I’m falling in love just listening.
After the session, Billy’s on the phone with Camila saying that the whole thing was “a total wash”. Meanwhile, audio mixing is turning up Daisy’s part, and it’s clear the song was pretty good.
At home, Daisy tells Simone that it was probably the best day of her life.
And that’s the episode! I can’t wait for more Daisy/Billy joint music! Friday is so far away!