Soon, her soulful vocals and insightful songwriting help propel the Six to the top of the charts-but at the height of their careers, everything comes tumbling down as years of wandering hearts, illicit sex, battles with sobriety, and the rigors of rock ’n’ roll take their toll. In the late '60s, talented but listless ingenue Daisy (Riley Keough) meets aspiring rocker Billy Dunne (Sam Claflin) and his aspiring group, eventually joining the band herself. Spanning a decade, Daisy Jones & the Six follows the formation, stratospheric success, and crushing break-up of the greatest band the 1970s never saw in reality. With its quasi-Victoriana aesthetic and a preference for ornate character make-up and prosthetics, Carnival Row is also one of the most unique-looking shows in recent years-just make sure your TV can handle deep, dark contrast levels, as it's one of the most literally dark ones too. The first season introduces human police inspector Rycroft “Philo” Philostrate (Orlando Bloom) and his former lover, fae Vignette “Vini” Stonemoss (Cara Delevingne), as a string of murders rocks the gaslit city of The Burgue, while the second sees tensions between the populace erupt as the oppressed fae make a stand for their freedom-and with Philo and Vini on opposite sides. But there’s still a neat package of 18 beautifully produced episodes to enjoy for a relatively concise binge. Sadly, the Covid-19 pandemic massively delayed its second-and ultimately final-season. Its strong first season showed huge potential, framing deeper themes of class, immigration, and race within a fantasy world where dominant humans and refugee fae live in uneasy lockstep. There’s an element of “what might have been” about Carnival Row.
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