Their lack of direct experience with the period might have something to do with the show’s impulses feeling more curatorial and fannish than dramatic.īut Neustadter and Weber have previously shown an ability to bring wit and feeling to the coming-of-age tale, in “500 Days of Summer” and, especially, “The Spectacular Now,” on which they collaborated with Ponsoldt. Weber, and five of its 10 episodes were directed by James Ponsoldt, all of whom were babies during the time when Fleetwood Mac’s “Rumours” - the analogue for the breakout album by the show’s fictional band - was saturating the American consciousness.

It was developed for television by the talented writing team of Scott Neustadter and Michael H. The series, which premieres on Friday, is based on a best-selling page-turner of the same title by Taylor Jenkins Reid, who was born in the 1980s, the decade after the story takes place. The retro sounds and evocative locations, real or recreated, are appealing in their own right but don’t summon the redolent Sunset Strip-and-Laurel Canyon vibe that they’re supposed to the flavor is artificial, like rock ’n’ roll surimi. “Daisy Jones & the Six” doesn’t really work as pure nostalgia, either, despite the jukebox soundtrack (kudos for “Too Late to Turn Back Now”) and the exhaustive fetishization of the early 1970s Los Angeles scene: the Troubadour, Filthy McNasty’s, cocaine, Hare Krishnas. It’s big, all right, but most of the fun seems to have been lost in the mix - someone dialed down the romance and escapism and slid up the knob labeled “solemn tear-jerker.” You’re expecting “Rhiannon,” but what comes out of the speakers is more like “MacArthur Park.”

The Amazon Prime Video mini-series “Daisy Jones & the Six” has been positioned as the first big-fun hit of the year, a glossy and nostalgic pop-music drama in the vein of “Almost Famous” based in part on the stormy history of Fleetwood Mac.

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