Author Archives: loiswhitmanhess
Jayda Knight’s Miami City Ballet Debut
The Jayda Knight fan club at the Miami City Ballet in the North Miami bandshell. Jayda created the clever animated art behind the dancers. The piece is called Dazzling Creatures. Applauding her: me, Eliot, Nellie Chi, author Deborah Desilets, Dawn McCall, Jayda Knight, aka Flying Knight, and friend. What a gorgeous night.
Videos of Jayda Knight’s, aka Flying Knight, art work in action. This presentation in the North Miami bandshell was so creative that the Miami City Ballet, asked her and dance choreographer Sean Miller to develop future productions. Whoa baby!
Jayda Knight, aka Flying Knight, was the star of the Miami City Ballet last night in the North Miami bandshell as she created all of the background art work to appear in “Dazzling Creations”. Bravo Jayda.
How ‘Daisy Jones and the Six’ is different from the novel
I have read all of Taylor Jenkins Reid’s books. One is better than the other. The Mashable newsletter compared the book to the TV series. Both were terrific. Jenkins Reid is 39 years old.
• Forever, Interrupted (2013)
• After I Do (2014)
• Maybe in Another Life (2015)
• One True Loves (2016)
• The Seven Husbands of Evelyn Hugo (2017)
• Daisy Jones & The Six (2019)
• Malibu Rising (2021)
• Carrie Soto Is Back (2022)
• Evidence of the Affair (2018)
The final show happens very differently.
By Elena Cavender on March 24, 2023
In episode 8, Daisy Jones and The Six finally go on tour and it goes down a little differently than in the book. Credit: Lacey Terrell / Prime Video
How does a good band become a great band?
Daisy Jones and the Six adapts Taylor Jenkins Reid’s novel of the same name that follows the rise and fall of the titular Daisy Jones (Riley Keough) and The Six, featuring dreamy frontman Billy Dunne (Sam Claflin), guitarist Graham Dunne (Will Harrison), bassist Eddie Loving (Josh Whitehouse), keyboardist Karen Sirko (Suki Waterhouse), and drummer Warren Rhodes (Sebastian Chacon).
It’s a story of rock-and-roll heartbreak, with massive highs and lows, and the show cranks up the drama. From the “Honeycomb” name change to Camila and Eddie, here are the biggest changes Daisy Jones and the Six has made so far.
The novel takes the shape of an oral history of The Six’s dynamite rise to stardom and infamous split. It’s told entirely through interviews with the band, other key players, and eyewitnesses. The interviews are conducted roughly 30 to 40 years after the band’s split, as the members reflect on their time in the band with distance and (some) maturity. Each member remembers how everything went down slightly differently, leaving what really happened elusive and up to interpretation. The author’s note reads: “It should also be noted that, on matters both big and small, sometimes accounts of the same event differ. The truth often lies, unclaimed, in the middle.”
The show’s first episode opens with Daisy and each member of The Six beginning their interviews, which take place only 20 years after the breakup. Lazy aging makeup aside, the shortened time since the band split changes the band member’s perspective — the difference between 40 and 60 years old is stark — and leaves them with rawer emotional wounds from their time in the band and more to lose.
Additionally, unlike in the book, we actually see a cohesive story of the rise of the band in the moment; there’s no ambiguity over what went down. The show relies much less on the interviews, and they instead serve to establish a sheen of nostalgia and offer insight into the different band members’ perspectives.
Creation of The Six
The show messes with the band’s origin story and timeline.Credit: Lacey Terrell / Prime Video
In the book, Billy and Graham start the band together and bring members in, truly embodying their original band name, The Dunne Brothers.
In episode 1, Graham alone decides to start a band with his crew of nerdy friends — Eddie, Warren, and Chuck — in order to get his girlfriend back. He tempts them to join by saying his cool older brother Billy will join too. But in his interview, Billy claims, “I never agreed to be in their band. I said I would listen and maybe give them some pointers.”
Despite his initial reluctance, Billy immediately takes charge. This change establishes a power dynamic within the band and Billy’s dictatorship much earlier on than in the novel. The decision compensates for changes to The Six’s timeline, hones in on Billy’s centrality from the start, and foreshadows the precarious nature of The Six.
In the book, The Dunne Brothers are performing at their first wedding gig when Billy and Graham spot their estranged father, who is drunkenly dancing with a much younger woman. Their dad doesn’t so much as spare his sons a glance, and Billy deals with it by chugging beers and asking out a pretty cocktail waitress – and his future wife – Camila (Camila Morrone).
The show amps up the drama at the wedding to the max. Billy confronts their father, smashes his guitar, and Graham punches him in the face. Moments later in the parking lot, Billy announces to the band, “We’re going to be the biggest band in the fucking world!” This sequence effectively sets up Billy’s deep-rooted daddy issues, but it also alters his character by having him seek validation in music and fame, sidelining Camila’s importance.
In the show, Camilla and Billy’s meet-cute takes place at a laundromat where she humbles him. But fear not, he still uses the atrocious line “You give me your number, and I’ll write you a song.”
Right before the band has their first small break opening for The Winters in the show, Chuck quits to go to dental school. This is a major tonal shift from the book, in which Chuck is drafted to Vietnam and dies six months later. In the show, Chuck serves as a source of doubt —suggesting a safer, more financially secure option for the band — rather than inspiration for the band to pursue their dreams.
In episode 2, Warren says, “Maybe ol’ Chuckie was right. Maybe this was all just a big mistake, and we should have stayed at home with our moms to save money on rent and become dentists.” It’s one of a series of changes that both sanitizes and adds levity to the source material.
The Five: Where is Pete?
Camila is the unofficial sixth member in the show. Credit: Lacey Terrell / Prime Video
The show nixes The Six’s bassist Pete Loving entirely. In the book, Pete is Eddie’s older brother, and he brings Eddie into the band to be the rhythm guitarist when Chuck is drafted. Pete’s whole thing is having a girlfriend back on the East Coast. In the show, Eddie is an original band member and is forced to switch to bass when Chuck leaves, one of many seeds of resentment planted.
The show explains away the misnumbered name during a brief scene where Karen suggests The Six, claiming Camila as the unofficial sixth member. Plus, Warren adds, they can’t be The Five because there’s The Dave Clark Five and The Jackson Five. The show has Camila much more involved in the band than she was in the novel, so this explanation makes sense, to some extent.
Timeline of The Six
In the show, the band powers through Chuck’s departure, opens for The Winters, and meets their future keyboardist, Karen. After their performance, they receive life-changing advice from their future tour manager Rod Reyes: “Get the fuck out of Pittsburgh.”
With no planning or further direction from Rod, they decide to move to LA that same night and leave the next morning. At first, Camila refuses to come to LA, but by morning she’s changed her mind and gets in the van, which robs us of one of several essential Billy and Camila moments! More on this later.
The show reduces Rod’s role and downgrades him from The Six’s manager to their touring manager. In the book, the band has an established relationship with Rod, not to mention a lot more experience before moving out to LA. The band opens for The Winters for several shows on their Northeastern tour, where they convince Karen to join the band. When Karen joins, they change their name from The Dunne Brothers to The Six. They get more gigs and catch the eye of Rod in NYC, who sets up more shows for them on the East Coast and then helps them move to LA, where he hooks them up with gigs.
The lack of planning adds drama, humor, and excitement to the show — as if being in a rock-and-roll band isn’t already enough.
One of the most memorable scenes from episode 2 is unique to the show. It features Billy accosting Teddy Price (Tom Wright) at the grocery store and getting him to agree to listen to one of their songs. Billy is fixated on having Teddy produce their album from the start. On the show, he’s not just their producer but also their main point of contact in the music industry. He essentially absorbs some of Rod’s role, as well as that of Daisy’s manager, Hank.
In the book, The Six’s intro to Teddy is much less exciting, and his mythos grows as he becomes a father figure to Billy and Daisy. Rod introduces the band to Teddy at the Troubadour, they play him 10 songs, and he gets them a record deal.
In the show, Teddy approaches Daisy after she performs at the Troubadour and offers to shape her. She doesn’t want to be shaped and storms off. A similar power struggle ensues in the book, but only after she’s been signed to Teddy’s record label and forced to sing covers.
Regardless, it’s Teddy who consistently gets through to Billy and Daisy and pushes them.
Camila’s character suffers the most in its translation to screen.Credit: Lacey Terrell / Prime Video
Perhaps the changes that will upset fans of the novel most are made to Camila, Billy’s wife. In the book, Camila is a force, Billy’s rock in his struggle with addiction, and comfortable with her position as a rising rockstar’s stay-at-home wife. The show suggests otherwise.
In the show, Camila is introduced as a photographer rather than “wife of Billy Dunne.” She’s constantly recording and photographing the band, giving her a more official role. When she moves to LA with Billy, she acts as a quasi-manager, cold-calling record labels, sending photos of the band to newspapers, and is even folded into the band’s name.
In the book, Camila and Billy break up when The Six relocates to LA. And in one of the more romantic moments, Billy calls Camila and says, “If I had a record contract, would you marry me?” Camila accepts and comes out to LA to be with him.
In episode 2, Camila reveals her pregnancy to Billy the day before The Six leaves for tour, and it’s only then that they decide to get married. They proceed to have a full-blown wedding that night, with proper decorations and guests. However, Billy and Camila’s wedding is one of the most memorable scenes in the novel; they get married last minute in the middle of the night, and Karen decorates trees with aluminum foil. Between the proposal and wedding changes, the show presents Camila and Billy’s relationship less romantically, setting up viewers to be team Daisy and Billy.
In the show, the first tour is told primarily from Camila’s perspective of the pregnant wife at home, while in the book we really see Billy’s downfall and heroin addiction.
Daisy’s best friend and disco icon Simone Jackson (Nabiyah Be) has a much larger role in the show and gets to be a character in her own right rather than a talking head that adds context to Daisy. In the show, we see her career play out as a foil to Daisy’s, which also allows for more disco content!
In episode 3, it’s revealed that Billy’s stint in rehab gets The Six dropped from their label. Additionally, they were forced to pay their advance back, and the band members are now working odd jobs. Billy quits the band to focus on being a faithful husband and father, while initially barely doing either of those things. The remaining members of The Six audition new frontmen before deciding on…Eddie. C’mon, you can’t be serious. The show does everything in its power to increase Eddie’s animosity towards Billy, and the bitter bassist is no match for Billy’s charisma and stage presence.
In the show, Billy writes a song, plays it for the band, and is welcomed back with open arms – aside from Eddie. Teddy likes it and brings it to the label, but The Six has burned too many bridges, and the label isn’t willing to take another chance on them. Teddy brings in Daisy as a last-ditch effort to try to fix the song.
In the book, none of this happens! Billy returns from rehab and immediately starts working on the band’s second album, SevenEightNine. Daisy is brought in because they aren’t confident they have a lead single. These changes both delay Daisy and the band’s first encounter and raise the stakes. Everyone loves an underdog, and it’s a fun twist to make Daisy and The Six underdogs together.
Look At Us Now (Honeycomb)
Billy and Daisy’s chemistry while performing “Look At Us Now (Honeycomb) is palpable. Credit: Lacey Terrell / Prime Video
In episode 4, “Look At Us Now (Honeycomb),” the song Daisy and Billy wrote at the end of episode 3, comes out and catches on like wildfire. Invited to perform at Diamond Head Festival in Hawaii, Daisy and Billy butt heads, but the show is undeniably magical. However, after Billy tells the press that Daisy and The Six won’t be collaborating again, they fight and Billy tells her to “have a nice life.”
In the book, Daisy and Billy first perform “Look At Us Now (Honeycomb)” – which is just called “Honeycomb” – at The Whisky in Los Angeles, where The Six is doing a residency to promote SevenEightNine. One night Daisy is in the crowd, so they bring her on stage to perform. It goes so well that their record label announces that Daisy will open for The Six on their world tour, The Numbers Tour.
Without The Six’s second album and accompanying tour, the show fast tracks Aurora,and the Diamond Head performance amps up the magic of Daisy and Billy’s first live performance together.
Daisy joining the band
In episode 4 everyone wants Daisy to join The Six except for Billy. Camila intervenes and invites Daisy to their housewarming party. Billy almost comes around and makes a halfhearted attempt to invite her to join the band, but Daisy stands her ground and walks away from him. The power goes out and the band, including Daisy, have an impromptu candle-lit acoustic performance that changes everything. By the start of episode 5, Daisy is an official member of The Six.
In the book, Daisy has a moment of clarity on The Numbers Tour where she fires her abusive manager, Hank — who is cut entirely from the show, diluting Daisy’s character — on the night that Jonah Berg of Rolling Stone magazine is in the crowd. Hank sabotages Daisy and takes her backing band with him. Daisy scrambles and ends up doing her opening set with Eddie playing guitar. Then, Billy comes out and takes the guitar from Eddie to do an intimate rendition of “Honeycomb.” For the first time on the tour Daisy stays on stage for the rest of The Six’s set. Eddie is pissed at Billy for overshadowing him and smashes his guitar. This memorable performance sets into motion the dynamics of the band that define the novel and lead to their breakup.
Jonah’s headline for the Rolling Stone article is “The Six That Should Be Seven,” which forces Billy’s hand in allowing Daisy to join the band. The sequence of events that leads to Daisy joining The Six is much more exciting in the novel and gives you the sense that it almost didn’t happen. In the show, the decision for Daisy to join the band is less external and more of an inevitability. It emphasizes the relationships between Daisy and members of The Six and highlights her new found family.
Karen and Graham
After encouragement from Camila, at the end of episode 4 Graham kisses Camila, and she politely rejects him. Then, Caroline introduces herself to Graham. In episode 5, Graham, Karen, and Caroline go to the beach. Karen sees Graham’s attractive qualities through Caroline’s eyes and realizes she wants him. When they arrive home from the beach Karen jumps his bones.
In the book, Graham and Karen’s luggage gets mixed up on The Numbers Tour, and Graham returns a duffle of bras and underwear to Karen. Karen says to him, “Oh, I bet you just love having your hands on my panties,” and Graham replies, “If I get my hands on those panties, I want to have earned it the old-fashioned way.” Later that day, Karen calls Graham’s hotel room and asks why he’s never made a move on her. He says, “I don’t take shots I know I’ll miss.” She replies, “I don’t think you’ll miss, Dunne.” Then Graham sprints over to her hotel room, and they share a passionate kiss.
The show thankfully devotes more time to developing Karen and Graham’s relationship, and it’s a joy to watch the fan-favorite characters get more screen time.
Daisy and Billy kissing in a tree
Daisy in the process of writing another incriminating song about Billy. Credit: Lacey Terrell / Prime Video
By episode 6 the tension between Daisy and Billy is undeniable and immediately gets complicated. Jonah from Rolling Stone is writing his first story on Daisy Jones and The Six and observes a charged moment between Daisy and Billy. Daisy exits, leaving Billy and Jonah alone in the studio together. Billy tells Jonah, “It’s not what you think man… It’s not exactly [an act], but it’s not real life either.” Jonah later relays this to Daisy, and she’s understandably upset and lashes out by not showing up to record the next day. Billy goes looking for Daisy and finds her strung out in the pool, inspiring him to write “More Fun To Miss.” The next day, while recording the song, Daisy storms out of the studio.
They fight in the parking lot, and Daisy says, “You want me to sing your song? I’ll fucking sing your song if you tell me the truth. Tell me that there is nothing going on between us.” In response, Billy kisses her. She makes her triumphant return to the studio and sings her heart out.
The sequence makes for great television and suggests that for Billy their relationship is about the music…or at least that’s what he’s telling himself. Billy manipulating Daisy for the music becomes a central theme in their relationship.
In the book, these two scenes happen separately. Billy writes “Impossible Woman,” the book equivalent of “More Fun To Miss,” and pushes Daisy to sing it in a feral, exceptionally raw way. It’s only after writing a couple of more emotionally charged songs that Billy tells Daisy he “likes a lot about her” and she leans in to kiss him. Their lips “barely graze,” and Billy cuts it off. In the novel, their relationship is about making great music, but Daisy is also a source of temptation for Billy, and he grapples with how acting on his feelings for her would result in him losing control of his sobriety and family. In the book we see the tension rise between Daisy and Billy, but we never get the pay off that the show gives us.
By the time Billy and Daisy are writing Aurora in the book, Camila and Billy have had twin girls. However, they are completely cut from the show. During that period, Camila would put their three daughters to bed and wait up for Billy. The show has Billy getting home late every night. Additionally, Billy writes the titular track, “Aurora,” about Camila, so while the rest of the album explores Daisy and Billy’s relationship, they choose to center the album around song about Camila. These changes simplify his relationship with Camila and his betrayal.
Because Camila is more involved in the band in the show, when Daisy joins the band Camila isn’t just sidelined from her relationship with her husband, but from her unofficial role in the band. This makes Billy’s duplicity cut even deeper.
In episode 6, after Billy kisses Daisy, Camila accompanies Billy to the Aurora album shoot. Billy and Daisy get into a fiery fight, while Camila observes at a distance and captures the moment on her camera. From Camila’s perspective, we hear damning snippets of their argument that include the phrase “your wife.” In the book, Camila is not involved in the Aurora album shoot at all.
In one of the most jaw-dropping changes from the book, Camila gets together with Eddie in retaliation. The show heavily hinted at Eddie’s feeling for Camila. This unnecessary change serves to increase hostility between Eddie and Billy, but Eddie was spiteful enough in the book! Putting Eddie and Camila together makes The Six excessively messy.
In the novel, Camila also flirts with infidelity by meeting up with a high school crush, and it’s implied it’s more than just friendly.
Simone the struggling disco star
Episode 7 begins with Simone arriving at the NYC club where her long-distance lover Bernie (Ayesha Harris) DJ’s; it’s also where the two women promote Simone’s music, culminating in a record deal. As stated above, Simone is a minor character in the book, which gives the show creators freedom to expand her character. In the book, all we know about Simone’s career is that her first album flops and her record label drops her. Then, she gets signed to a different record label and finds international success with her R&B dance hits in Europe; she leaves to tour Europe while Daisy is working on her debut album.
Daisy’s escape to Hydra
Daisy goes to a Greek Island instead of Thailand. Credit: Laney Terrell / Prime Video
The show draws out 3.5 pages of the novel into an entire episode. When the band goes on break after completing Aurora, Daisy disappears to Hydra, a Greek island. She sends Simone a telegram that reads, “I need you – Daisy,” and Simone and Bernie drop everything, potentially at the expense of their careers, to meet her in Greece. There they find Daisy engaged to Nicky (Gavin Drea), who claims to be of Irish nobility. During Simone and Bernie’s stay in Greece, Daisy and Nicky get married, and Simone fights with Daisy about returning to The Six.
Simone discovers that Daisy lied about her identity to Nicky – she told him she’s a poet. Nicky is clearly manipulative and twists Simone’s sexuality against her by telling Daisy that Simone only wants her to return to The Six because she’s in love with her. Daisy falls for Nicky’s trap and gets into a friendship-altering fight with Simone that results in Simone leaving Hydra. But the fight was for nothing because then Nicky finds Daisy’s Rolling Stone cover and encourage her to go back to LA.
In the book, Daisy escapes to Thailand and sends Simone a postcard with an entirely different tone: “Come to Phuket. Bring coke and a lipstick.” Then she meets Nicky, who is Italian “royalty,” and leaves with him to Florence and then Rome before Simone arrives. Daisy and Nicky get married, and Simone finally tracks Daisy down in Rome and drags her back to LA.
Spending more time with Daisy away is an attempt at fleshing out her headspace, feelings for Billy, and why she marries Nicky, but the show is at its most compelling when Daisy and Billy are in the same room!
Per usual, the show amps up the drama of Daisy’s trip. She’s essentially gone missing and doesn’t return until after the album release party and tour rehearsals. In the book, she comes back to do press for Aurora and tour rehearsals. The most frustrating change is small but carries emotional weight. In the show, present-day Daisy says, “I don’t regret that day,” in reference to her wedding day, but in the book she says, “I regret that marriage, but I don’t regret that dress.” The modification validates Daisy’s toxic relationship with Nicky and doesn’t do justice to Daisy’s character development.
In episode 8, Daisy Jones and The Six finally go on their first tour, and tension between Daisy and Billy is at an all-time high — and not in a sexual way. At the same time, Daisy is on a self-destructive downward spiral that’s exacerbated by receiving a letter from her absentee mother.
Billy notices Daisy’s increased drug use and approaches Rod about it. He suggests talking to Nicky. Billy and Nicky’s conversation quickly escalates, and Billy throws the first punch. In the book, Nicky and Billy get in a blow-out confrontation, but it never gets physical. Nicky steps in when Billy and Daisy fight over Billy, offering her his jacket in the studio. Nicky tells Billy, “You stay away from her…You don’t talk to her, you don’t touch her, you don’t even look at her.
Episode 8 culminates with Daisy overdosing. Billy goes to Daisy’s hotel room with the intention of kicking her out of the band and finds Nicky panicking in the doorway. Billy storms into the room and finds Daisy passed out in the shower. Rod calls a doctor, and Billy cradles Daisy in his arms. She wakes up and says, “It’s you.”
In the novel, Daisy overdoses in Rome while the band is on break from tour. She wakes up in the shower with Nicky leaning over her. She has a come-to-Jesus moment: “While I had no idea whether or not I overdosed or what exactly happened that night, I could tell he had been truly terrified. And all he did was put me in the shower.” She waits until Nicky takes a nap, then packs her bags and leaves him a message that she wants a divorce.
Billy saving Daisy is a cliche and does a disservice to her character and robs her of an important, self-preserving decision.
Teddy’s heart attack
In episode 9, Teddy has a heart attack at the Saturday Night Live after party. He’s rushed to the hospital. While he’s in surgery, Daisy and Billy reflect on their careers and addictions, and they decide to turn over a new leaf in their relationship. Then, Teddy wakes up. In the book, Teddy doesn’t come to the band’s SNL performance, and Billy gets a call early the next morning that Teddy died from a heart attack. Daisy and the band fly out to Los Angeles for the funeral, and his death serves as a catalyst for Billy and Daisy’s final downward spiral.
The hometown show
After Teddy’s health scare, the band plays their hometown show in Pittsburg. Tensions are rising between the members of the band – Billy takes Eddie’s bass to play with Daisy, and Karen and Graham grapple with Karen’s pregnancy – and the show tries to replace the trauma of Teddy’s death with the drama of the hometown show. After the show, Daisy and Billy do the crossword at his parents’ house and talk about the future. Billy tells Daisy that he’ll never leave Camila; unfortunately, Camila happens to see them through the window during this intimate moment, and it has the reverse effect, instilling her with doubt over their marriage.
In the book, the band takes a break after Teddy’s death, and when they return to touring, they are all messily mourning. Camila and the girls joined Billy on tour, so there isn’t that same marital tension leading into the final show.
The end of The Six
Camila arrives for the Chicago show and all hell breaks loose. Credit: Laney Terrell / Prime Video
In the final episode, Camila arrives in Chicago for the show. She gets into a yelling match with Billy about Daisy where Camila tells Billy, “we have both done things,” and Billy admits that he kissed Daisy for “like a second.” The fight culminates in Camila begging Billy to “tell me that you don’t love her,” but Billy’s reply falls short: “Nothing ever happened, and nothing ever will.” Then, Camila confronts Daisy and tells her that she and Billy deserve each other and leaves.
Later, Eddie and Billy come to blows when Eddie reveals that he’s quitting the band because — shockingly — he’s felt sidelined by Billy the entire time he’s been in the band. Billy gives it right back to Eddie, and then Eddie hints at his relationship with Camila, so Billy punches him in the face. In the book, none of these confrontations happen.
In the show, Daisy opens a letter from her mother and calls her, only for her mother to call her a “selfish little shit.” Immediately after the call, Daisy nosedives out of control and is doing copious amounts of cocaine and drinking heavily. While the conflict with her mother simplifies Daisy’s breakdown, we do get the epic line, “Next time you want to hear my voice, why don’t you try the fucking radio.”
Billy calls Camila and begs her to come to the show that night; thinking that she’s left him for good, he ends his sobriety and takes a shot. He continues to drink heavily before the show, and with nothing to lose, he kisses Daisy before they go on stage.
Daisy and Billy are all over each other during the final show, and during the break before the encore, they are passionately making out. They pause to do coke, and Billy proposes that they be “broken together,” but Daisy realizes that she doesn’t want to be broken anymore. The band goes on stage for their final song, and Daisy gives a speech that encourages Billy to leave the concert early to chase after Camila. Billy and Camila reconcile, and Daisy tells Rod she’s quitting the band to go to rehab.
In the book, Daisy and Billy do a particularly raw, exposed rendition of “Honeycomb” and are forced to grapple with their feelings for each other. Heartbroken over Daisy, Billy goes to the hotel bar and drinks half a glass of tequila. Meanwhile, Camila comforts Daisy, who is similarly suffering in her hotel room. The two women have a heart to heart, and Camila tells Daisy that Billy loves her but they are tearing each other apart and that Daisy is worth saving from the wreckage of their relationship. By morning, Daisy is gone.
Without Teddy’s death, the show has to amp up the tension leading up to the band’s conclusion, with marital drama between Billy and Camila and maternal drama with Daisy. That decision makes the reason for Daisy and Billy’s simultaneous spiral more confusing. In the book, it’s clear that Daisy and Billy ruin each other.
Julia’s big reveal
In the show, it’s revealed that Billy and Camila’s daughter Julia is the one interviewing everyone when Billy recounts his reconciliation with Camila after the concert because she also remembers that night.
In the book, Julia remembers Daisy and Camila’s talk and corroborates Daisy’s memory of the night because Camila is no longer alive. This change robs Julia and Daisy of the special connection they have in the book.
Daisy and Billy’s reunion
In the show, Julia shows Daisy and Billy a clip of Camila before her death giving them the go-ahead to meet up again. Then Billy is shown arriving at Daisy’s front door. The ending of the book is more ambiguous. It ends with an email written by Camila giving Daisy and Billy her blessing to write her a song.
Elena is a tech reporter and the resident Gen Z expert at Mashable. She covers TikTok and digital trends. She recently graduated from UC Berkeley with a BA in American History. Email her at firstname.lastname@example.org or follow her @ecaviar_(Opens in a new tab).
Do You Remember Elian Gonzalez?
Can you believe it’s been 24 years?
Once cherished in Miami, Elián González is set to become a legislator in Cuba.
Elián González, the Cuban boy found clinging to an inner tube near Florida shores who became the center of an international child custody dispute as well as a political battle between Cuba’s late leader Fidel Castro and Cuban exiles in Miami, is set to become a member of the island’s National Assembly after Cubans go to the polls Sunday.
González, 29, was proposed as a candidate for the municipality of Cárdenas, in Matanzas, where he lives and works as assistant director of AT Comercial Varadero, a food import company run by the Cuban Ministry of the Armed Forces.
Married and father of a 2-year-old girl, González said in an interview with the Juventud Rebelde newspaper that he had been encouraged by the Castro brothers to enter politics and thought Fidel Castro “would be proud” of his nomination. He has sometimes spoken in the past about how Cuba’s population has lost confidence in government institutions.
And because Cuba’s electoral system is designed in a way official candidates face no competition and only need a small percentage of the vote to get elected, there’s little doubt that González, who as a boy was at the center of one of the most emotional stories in Miami’s history, will become a member of the same government his mother tried to escape from.
In this file photo taken April 22, 2000, in Miami, Elián González is held in a closet by Donato Dalrymple, one of the two men who rescued the boy from the ocean, right, as government officials search the home of Lazaro González for the young boy. The boy was eventually reunited with his father in Cuba, but the ordeal put a spotlight on bitter relations between the U.S. and Cuba. (AP Photo/Alan Diaz, File)
“Throughout these years, my family has been very important, trying to maintain that simplicity, that humility of always staying in the right place where I should be, not believing that I was different from anyone or that I deserved something better,” he said in an interview with Cuban television station TvYumurí after he was nominated. He also praised his teachers, who he said made him understand that he “was not the star of that story, the star was the people.”
González, then 5 years old, was rescued by fishermen on Thanksgiving Day 1999 when he was spotted on an inner tube floating at sea near Fort Lauderdale. His mother, Elizabeth Brotons, who took him on the dangerous trip to flee the island regime, drowned with a dozen other passengers when their small fishing boat capsized. The boy miraculously survived.
In Cuba, his father, Juan Miguel Gonzalez, wanted him back. But in Miami, some of his relatives believed the boy should stay in the United States. After all, the boy’s mother died trying to get him freedom, the relatives said at the time.
Then politics entered the scene.
After the economic crisis in Cuba in the 1990s known as the Special Period, Castro needed an issue that could revive old ideological battles and reinvigorate his grip on the population. And he seized on the opportunity, quickly making Elián’s return a subject of national priority and the beginning of a years-long propaganda campaign that would be known as the Battle of Ideas.
In Miami, local politicians quickly made it their mission to resist Castro and support the claims of the boy’s relatives in the U.S. to keep him here. A media frenzy followed in both countries, and Elián became the center of a diplomatic crisis and legal dispute that made headlines around the world. No less dramatic was the middle-of-the-night raid by federal agents on his relatives’ Little Havana home that put an end to it all after U.S. Attorney General Janet Reno ordered that the boy should return to Cuba.
A photograph of the boy’s scared face when a federal agent points his gun in his direction further enraged Cuban exiles. But after seven months, he eventually returned to Cuba with his father after the Miami relatives exhausted all legal pathways to get him to stay.
His life, however, never quite returned to normal. The entire country knew who he was, his face printed on thousands of banners and T-shirts. While he was in Miami, Cuban state workers and students held weekly rallies calling for his return, and a daily television show was dedicated to discussing any developments in the case.
On the island, González received a military education and became a vocal supporter of the Castro brothers, who, after his return to the island developed a close relationship with him and his father, who went from a waiter at a Varadero restaurant to a member of the National Assembly.
Over the years González was frequently seen in public with Fidel and later Raúl Castro. When he graduated as an industrial engineer in July 2016, he read a letter his class sent to Fidel Castro promising to “fight from any trench that the Revolution demands.” And when Castro died a few months later, González said he had been “like a father until he became a friend. And like my father, I wanted to show him everything I achieved so that he could be proud of me.” His Facebook account is full of pictures with Fidel Castro and hashtags like #FidelViveenMí, Fidel lives in me, and #YoSoyFidel, I am Fidel.
In 2020, González announced he was going to be a father of a girl and that he had become a member of the Communist Party.
He has rarely spoken of his family in Miami, but in a 2015 interview with ABC News he said he wanted to visit the United States and was willing to talk to his relatives — if they acknowledged it was wrong to keep him from reuniting with his father.
Though not surprised, Manny Díaz, the lawyer who represented the boy’s Miami relatives during the saga and who later became mayor of Miami, said he was saddened to hear about González’s choices.
“How does he explain the fact that his mother gave her life to bring him to freedom, and he’s now a representative of a system that oppresses people, jails anyone who dissents, kills people who dissent and is an economic failure?” he asked.
In Miami, Elián played with Díaz’s daughter. When Diaz saw them together, he said, he saw children — not a battle between democracy and communism.
Diaz said he knew that Elián’s return to the island would involve indoctrination. Elián, he said, was groomed to be a poster child for the Cuban government.
Donato Dalrymple, 63, one of the fishermen who rescued him at sea and the man appearing in the iconic photo the night of the raid trying to shield him from the armed federal agent, said he isn’t surprised to hear about González’s new role. Dalrymple said he noticed something different about Elián from watching him play with his cousins in Miami.
“He was always a leader,” he told the Miami Herald.
For Dalrymple, González’s future as a lawmaker could be a good change for the island nation.
“I live with high hopes,” he said. “I wish him all the best.
Fountainhead Arts And Women’s Fund Miami Dade Celebrate Women’s History Month
Kathryn and Dan Mikesell, co-founders of Fountainhead Arts hosted the annual woman’s history month event tonight for The Women’s Fund Miami-Dade
https://womensfundmiami.org/. Mayor Daniella Levine Cava, Miami-Dade County’s first-ever woman Mayor, elected in November, 2020, was an honored guest. The Woman’s Fund creates positive change for women and girls through grantmaking, advocacy, research and leveraging collective impact.The four pillars: Economic Mobility, Leadership, Health & Well-being, and Freedom From Violence
Goodnight Freddie Roman
Sad Obit: The Friars Club is Padlocked Shut, Closed After Years of Mismanagement and Malfeasance Comes End of Era
by Roger Friedman – March 16, 2023 7:53 pm
The Friars Club is closed.
It’s padlocked shut with a gate blocking the entrance.
In truth, the Friars Club has been gone for years. All that remains is the 1957 “monastery” built into a classic townhouse(originally constructed in 1904) at 57 East 55th Street, a grim tombstone to remember the halcyon years of Alan King, Larry King, Jerry Lewis, Frank Sinatra, Joan Rivers, Freddie Roman, Dick Capri, and so on.
The group that was once so vaunted long ago lost its 501 c3 status as a charity. The Friars used to raise money for philanthropies. Now they need a GoFundMe page and a rescue from the Landmarks Commission ASAP.
Gone are the roasts that became so famous that Ted Danson’s career was almost ruined at one when he wore blackface. No one who attended the famous roast at which Gilbert Gottfried repeated “The Aristocrats” has ever recovered from it.
But I began reporting on the financial malfeasance at the Friars Club in 2016, which led eventually to them being raided by the federal government. Down the line, the club’s president Michael Gyure was found guilty of fraud and tax evasion. He’s long gone. I reported that a sexual harassment claim was filed by the club’s long time receptionist and ultimately settled for around $1 million. The club refused to get rid of the person at the center of the suit, Bruce Charet, who is still with them.
Three years ago, just before the pandemic killed off inside dining and entertainment, the club — loaded with debt — suffered a burst water pipe that flooded the place.Renovations took place thanks to insurance. In the spring of 2021 I was invited over by new president Arthur Aidala, the defense attorney who counts among his clients Harvey Weinstein. The kitchen was closed. There was no hot food, just some cold hors d’ouevres. Aidala was very upbeat that a new day was coming including an outside restaurant operator who’d make the ground floor public.
That was two years ago. Months ago there was talk of private gatherings. No celebrities will set foot in the Friars Club thanks to the litany of people who’ve destroyed its reputation. The Club “fired” many beloved members, others quit. Once a famed pinnacle of success for comics and entertainers, it’s now a husk of itself.
What will happen? New York’s history is disappearing very quickly now. The famed 21 Club closed during the pandemic and there’s no sign of its return. The Friars Club is one of the last vestiges of the city’s dominance as a cultural force. But in the last two or three decades, the group was unable to attract contemporary comics like Jerry Seinfeld, Dave Letterman, Stephen Colbert, Jon Stewart, the “SNL” gang, etc.
PS The Friars Club has little to no social media. Its Twitter account hasn’t been used in three to four years, and there are no updates on Facebook.
A Miami Housewife Tells Her “Dateline” Experience
Miami Life —Lois Whitman-Hess
If you are a “NBC Dateline” fan then you will want to meet my friend Gloria Winkowski who lives a few blocks away from me in Miami Beach. She was actually involved in solving a 40-plus year murder mystery that took place in Rochester, NY. She
appeared on Dateline on Friday, January 20 to discuss the case with NBC news correspondent Andrea Canning.
When Gloria first told me about the murder of her girlfriend in Rochester and how she was working with Dateline to tell the nation about what happened so long ago, I couldn’t believe my ears. My husband Eliot and I became huge Dateline fans during the Covid-19 pandemic when we were shut-ins. After a while we realized that most of the cases were about small town, husbands and wives, who killed their spouses to collect on life insurance policies.
That wasn’t the case with Gloria’s friend Kathy Krausneck who was murdered February 18, 1982. Gloria said her husband killed her because she was planning to leave him. Jim Krausneck was very abusive. He wasn’t going to let her go on her terms. He took an ax and plunged it into her head before he went to work that day at Eastman Kodak.
If that wasn’t bad enough, he also left his three year old daughter home alone while his wife was stretched out dead in her bloody bed. The little girl, who is now 40 years old, said she has no recollection of being by herself without food, water, and adult supervision. Her father wanted to make the scene look like an intruder busted into his home and killed his wife. He claimed that when he returned home that evening he was shocked to see what took place in his absence.
Gloria didn’t believe a word he said because Kathy had been telling her that she was basically living a life totally being controlled by her husband Jim. He didn’t allow her to talk on the telephone when he was home because he wanted her totally devoted to him. He also kept her captive at home everyday because he refused to buy a second car for her use. Kathy often relied on Gloria to drive her daughter to school, the doctor, and food shopping. Gloria said Jim was generally very nasty to Kathy.
It took 40 years and several marriages later for Jim to be convicted and sent to jail for the rest of his life. It sickens Gloria to think it took the Rochester police all those years to gather enough evidence to put him away. Smaller cities just do not have the investigation resources as bigger ones.
Gloria was also upset with Dateline. She felt they didn’t tell the true story of Jim Krausneck. They just gave the highlights to fit the two hour slot and never gave Kathy the justice she deserved. “She was a sweetheart and he was disturbed. Jim was under investigation at Eastman Kodak for claiming he had a PhD when he never finished the program. They kept asking him to see his documents but he never produced it. He was about to be fired. Dateline, with all of their resources, also never covered that fact and that the Krausneck dog was locked up in the basement for the day. That was something Kathy would never do.”
Gloria realizes that Dateline produces a shows for TV entertainment. She just wishes they showed more facts why Jim was the killer. It was bad enough that Gloria had to tolerate Jim being free for four decades while her girlfriend’s life was cut short.
Gloria lives with her husband Bill, a retired pharmacist, in Miami Beach. They have a beautiful life filled with their four adult children and 11 grandchildren.
Dateline is a newsmagazine that has been an airing staple since in 1992. Cases involving murders and missing people are frequent topics on the series that has won multiple Emmys in the news and documentary category.
Every Democrat Needs To Watch This Video
Leigh McGowan launched PoliticsGirl as a way to help people reconnect with politics. She started the YouTube channel in 2015 as a way to inform and inspire because she said, “when you understand you care, and when you care you vote”. After watching the fallout from the Trump years, Leigh relaunched the project on TikTok in September of 2020 doing rants in her kitchen as a way to engage the younger generation whose participation, she believed, was essential to the future of the country. People loved her no-nonsense, casual approach and the way she was able to break down complicated issues into everyday speak. As her numbers grew so did her popularity and influence. People like her because she’s smart in a way that doesn’t make them feel dumb.
Second option, click on link below to access the video
William Shatner on ‘Star Trek,’ Space Travel and Mortality: ‘I Don’t Have Long to Live
By Brent Lang
William Shatner kicks things off with a compliment.
We’re talking via Zoom — he’s beaming in from the sprawling kitchen of his Los Angeles home, which overlooks the San Fernando Valley. I’m dialing in from the living room of my walkup apartment in Brooklyn, a much more modest setting. But Shatner is impressed by the over-stocked bookcase behind me, as well as the paintings, a seascape and an impressionist pastoral scene that I inherited from my grandmother, that line the wall around it.
“You have terrific taste,” Shatner exclaims with the kind of brio that Captain James T. Kirk, his most famous alter-ego, approached his mission “to explore strange new worlds, seek out new life and new civilizations, [and] boldly go where no man has gone before!”
But Shatner isn’t just here to talk about “Star Trek,” though his time commanding the Starship Enterprise invariably comes up. Instead, he’s discussing “You Can Call Me Bill,” a new documentary that covers Shatner’s career highlights — from the “Star Trek” films and series to “T.J. Hooker” and “Boston Legal” — as well as his acting idols (Brando and Olivier) and love of nature. The film, which is directed by Alexandre O. Philippe and which premieres at SXSW, is also a meditation on mortality, something that the 91-year-old Shatner has been thinking a great deal about these days.
Why did you decide to make the documentary?
I’ve turned down a lot of offers to do documentaries before. But I don’t have long to live. Whether I keel over as I’m speaking to you or 10 years from now, my time is limited, so that’s very much a factor. I’ve got grandchildren. This documentary is a way of reaching out after I die.
Did you learn something about yourself that you didn’t know before you made this film?
Time and time again, I’ve come across some interesting thought or idea. That can be because of a thoughtful interviewer sparking something in me. In the movie, I didn’t just want to go on about I did this or that when I was 7 or this is my favorite color . I’m trying to discover something I’ve never said before or to find a way to say something I’ve said before in a different way, so I can explore that truth further. I read all the time — newspapers and books. I’m feeding my mind. The sad thing is that the older a person gets the wiser they become and then they die with all that knowledge. And it’s gone. It’s not like I’m going to take my ideas or my clothing with me. Today, there’s a person going through some of my clothes in order to donate or sell them, because what am I going to do with all these suits that I’ve got? What am I going to do with all these thoughts? What am I going to do with 90 years of observations? The moths of extinction will eat my brain as they will my clothing and it will all disappear.
That’s sad. What about your legacy?
When Leonard Nimoy died a few years ago, his funeral was on a Sunday. His death was very sudden, and I had obligated myself to go to Mar-a-Lago for a Red Cross fundraiser. I was one of the celebrities raising money. That event was on Saturday night. I chose to keep my promise and go to Mar-a-Lago instead of the funeral, and I said to the audience, “People ask about a legacy. There’s no legacy. Statues are torn down. Graveyards are ransacked. Headstones are knocked over. No one remembers anyone. Who remembers Danny Kaye or Cary Grant? They were great stars. But they’re gone and no one cares.” But what does live on are good deeds. If you do a good deed, it reverberates to the end of time. It’s the butterfly effect thing. That’s why I have done this film.
Your decision not to attend Leonard Nimoy’s funeral was controversial . How did the backlash feel? Do you regret your decision?
Who cares? I know what I did was right. So it doesn’t matter. We’re criticized when we lift a finger. I don’t read that stuff. I try to not to indulge in the evil that’s out there.
Everyone thinks about dying, but actors actually get to act out what it’s like to die on stage or on film. Does that change your perspective on death?
William Shatner Documentary Beams Up $790,000 in Equity Crowdfunding, Selling Out in Less Than a Week
There was a time when actors, and I include myself in this, would portray death by falling to the ground and your eyes would flicker and you’d slump around and then you’re dead. That’s not how you die. This is how you die [Shatner’s eyes go wide abruptly and his breath stops] . See? I’m dead. Ever put a dog down? When I have to put a dog down and I’m at the vet, I cup my dog’s head and I say, “I’m with you baby, I’m with you.” And the injection goes in and the dog looks at me with love, and that’s it. You don’t know they’re dead. That’s how you die. It’s abrupt. My wife’s brother walked out of the living room and into the bedroom. There was a thud. His wife walked in, and he was dead. Death comes anew to all of us.
In “Star Trek: Generations” you got to have some say in how Kirk died. In that scene , he approaches his last moments with wonder. Why was that something you pushed for?
I’m of the opinion that you die the way you live. I thought Kirk would die with a “Wow, look at that coming at me. There’s a guy with a scythe. Holy shit!” He’d seen all these weird aliens before. Here comes death and he meets it with awe and a sense of discovery.
You’ve been touring the country doing sold-out screenings of “Star Trek II: The Wrath of Khan,” a movie that came out in 1982. Danny Kaye and Cary Grant aside, some of your movies are going to outlast you. Is that comforting?
They’ll be good for another 10 years, maybe five. I’ve made all these films that are popular, so I’m sure they’ll pop up every so often. But I don’t need validation from a film I made in 1982. I get pleasure in talking to you right now.
In “You Can Call Me Bill,” you talk about thinking frequently about how you’re 91-years-old and you won’t get to see the people your grandchildren grow up to be. What is that like to realize that?
I have a grandson named Sebastian, who is 3 months old and already he’s got a mischievous smile. He’s already a little bit of a comic. His mother and father are lovely people. You look into his eyes, and you can see the aspects of what he will be like. If hunger and disease and bad fortune don’t disturb him too much, he should become this wonderful, amusing human being. So with the time I have left, I like to look at all my grandchildren and try to extract what I can out of my impressions.
Do you like going to these “Star Trek” screenings and conventions and being in front of all those fans?
I don’t enjoy being tugged at, but I enjoy answering questions and being in front of thousands of people.
Do you have a favorite role?
No. I just try to have a good time on the set. I just did a commercial for a watch that I designed. It has a face with a telescope, a sun, the milky way. And the watch company did this whole science fiction background for me to talk about it. Well, there’s a part of the commercial where they use CGI to have a meteorite land next to me. I ad lib, “That’s a lot of meteorite.” That was a pretty funny improv. I did that on Monday, and that’s become one of my favorite moments. I don’t know what it’s like for others. I went to watch Dwight Yoakam record an album last night, because I have no idea how a great artist makes their art. It’s like, how does everybody else fuck? You have no idea. I don’t know if he has a favorite album, and I don’t know if I don’t have a favorite role.
In 2021, you went into space on Jeff Bezos’ Blue Origin space shuttle and you said it made you weep because it gave you a better sense of what is happening to the planet. What did you mean?
When I came out of the space ship I was crying, just sobbing, and I thought why am I crying? What’s going on? I’m in grief. What am I grieving about? Oh shit, I’m grieving about the world, because I now know so much about what’s happening. I saw the Earth and its beauty and its destruction. It’s going extinct. Billions of years of evolution may vanish. It’s sacred, it’s holy, it’s life and it’s gone. It’s beyond tragic. We stupid fucking animals are destroying this gorgeous thing called the Earth. Doesn’t that make you angry? Don’t you want to do something about it?
My Palm Beach Faux Pas
My Palm Beach Faux Pas:
Old Money Vs New Money
I was recently told that I made a faux pas in Palm Beach that I shouldn’t repeat again. I love the person who tried to correct me, but I am too old, and too satisfied with who I am, to change my ways.
This is what happened. I was at a Palm Beach party a few weeks ago and one of the other female guests was staring at me as if she wanted to have a conversation. Instead of standing there awkwardly, I said, “Hello I’m Lois Whitman-Hess, how do you know our host and what do you do?” She was around my age so I thought she might be retired but would have plenty to say. She could just give me a one liner about her career so we could strike up a conversation. Instead, she looked me straight in the eye and said, “I do nothing.”
I have to admit that most people would have backed off and tiptoed away in embarrassment. Not me. I didn’t let men order me around in business, so I sure wasn’t going to let this uptight senior get the better of me. I said, “You did nothing? Surely you had to do something.” She cleared her throat, paused to think, and then blurted out, “I raised my children.”
I wasn’t finished. I never am. “I’m sure you worked before having children.” She stepped back in an attempt to run away but she snapped back, “I was a writer for Seventeen Magazine.”
I was flabbergasted. Standing before me was someone I would have loved to know better so we could reminisce about our journalism days. I was a reporter for WWD and HFD for eight years in the 1960’s and early 1970’s. I read every issue of Seventeen Magazine as a young girl. I wanted to know so much more. I told her how thrilled I was to meet someone who wrote for a leading magazine during my reporting heyday. She wasn’t interested. She politely ended the conversation and walked away.
I was baffled by this encounter, so I mentioned it to the Palm Beach woman who hosted the party a few days later when we spoke on the phone. Her response was like she found out I was picking my nose in the middle of her party. “You don’t ask people what they did for a living in Palm Beach. It’s rude and classless.” I didn’t answer her because after 55 years of successfully navigating myself in the business world, I wasn’t going to listen to someone telling me right from wrong. I Iet it go.
A few weeks later I read a chapter in Laurence Leamer’s book, entitled, Mar-a-Lago: Inside the Gates of Power at Donald Trump’s Presidential Palace about the protocol at parties in Palm Beach. Apparently, Donald Trump and I have bad etiquette in common.
I will let Laurence Leamer’s book explain. “After one of the dinner parties at Mar-a-Lago, when the waiters were serving coffee, Trump stood up at the head of the table. ‘I’d like to go around the table,’ he said, sweeping the room with his hand, ‘and have everyone get up and say a little about themselves, where they are from and what they do.’One of the grandes dames rose slowly and stood quietly as she looked across the table. ‘I live in Palm Beach,’ she said finally. ‘And I do nothing.’ With that she sat down while the other guests contemplated her words. Another of the ladies, copying the first speaker’s words, rose and said, ‘I live in Palm Beach. And I do nothing.’
Trump had merely been trying to enliven the island’s tired social rituals, but he discovered that most of these people did little. That was the point. They didn’t have to do anything. They stayed among their kind. They never went places where someone would ask anything so impertinent and expect one to stand up and answer.
Another of the dinner guests, Richard Cowell, observed these proceedings with astonishment. Born in 1927, Cowell had lived in one of the first fifty houses on the island and gone to the Palm Beach Day School. To him, Mar-a-Lago was not a legendary estate but the landed expanse that he and Dina Merrill, the actress and Mrs. Post’s daughter, had roamed as children. Cowell was the second generation of his family to belong to the Everglades and the Bath and Tennis, and he saw himself as the keeper of certain aristocratic traditions.
Cowell watched that evening at Mar-a-Lago with bemused fascination as Trump belly-flopped in front of the social arbiters of the island. ‘All of the top people were there, the peak of the Bath and Tennis and the Everglades,’ Cowell said three decades later, his memory vivid. ‘Everybody was laughing at him. That was his first major blunder with that group.’ The guests left right after coffee, and by the next morning the story of Trump’s behavior was all over the island.
“Trump paid no attention to the naysayers. He would rise to the heights of Palm Beach life, and Mar-a-Lago would be the splendid device that would take him there.”
The moral of the story. Marry rich and do nothing, or live in Miami, a wonderful melting pot, where everyone wants to know who you are.