The Playlist Story:-
While fictional portrayals of the tech industry have often taken creative liberties, real-life tech spaces have remained largely untouched by producers, partly due to the looming threat of litigation. The intricate complexities of round-the-clock coding, while essential, rarely translate into riveting entertainment, regardless of the pulse-pounding electronica soundtrack accompanying it. Moreover, David Fincher and Aaron Sorkin’s acclaimed 2010 film “The Social Network,” chronicling the tumultuous birth of Facebook, set a dauntingly high standard for any subsequent tech-focused narratives.
Movie Ratings
| Release Date | 13 October 2022 |
| Language | English, Swedish |
| Genre | Drama, Musical |
| Episodes | 6 |
| Cast | Gizem Erdogan, Christian Hillborg, Edvin Endre, Ulf Stenberg, Severija Janusauskaite, Joel Lützow, Ella Rappich, Jonatan Bökman, Lucas Serby, Janice Kavander, Erik Norén, Rufus Glaser, Sofia Karemyr, Valter Skarsgård, Fredrik Wagner, Sam Hazeldine, Patrick Baladi, Hanna Ardéhn, Agnes Kittelsen, Malin Barr, Felice Jankell, Julian Richings |
| Director | Per-Olav Sørensen, Hallgrim Haug |
| Writer | Sofie Forsman, Tove Forsman, Christian Spurrier |
| Cinematography | Jonas Alarik, Ulf Brantås |
| Music | Kristian Eidnes Andersen |
| Producer | Eiffel Mattsson, Berna Levin |
| Production | Banijay Group, Yellow Bird |
| Certificate | 16+ |
Enter Yellow Bird, the producers behind “Wallander,” who aim to tackle this challenge head-on with “The Playlist,” a six-part miniseries for Netflix centered around the Swedish success story, Spotify. This streaming platform revolutionized music consumption while stirring understandable apprehension in figures like Neil Young. Drawing from Sven Carlsson and Jonas Leijonhufvud’s non-fiction book “Spotify Untold,” the series presents a compelling narrative by exploring competing perspectives within Spotify’s journey – illustrating that even in the realm of music streaming, whose voices you amplify can significantly shape the narrative.
The opening episode, “The Vision,” serves as a prologue, introducing viewers to Spotify founder Daniel Ek circa 2004. Portrayed by Edvin Endre as a pale, socially awkward outsider with a fervent passion for music, this rendition of Ek is driven by a desire to democratize music consumption, fueled by his own experiences of being marginalized by traditional record store elitism. His determination to challenge the status quo, akin to Mark Zuckerberg in “The Social Network,” stems not from romantic rejection but from Google’s dismissal, propelling him to bridge the gap between corporate dominance and online piracy.
Subsequent episodes delve into the repercussions of Ek’s ambitious endeavors, mirroring Spotify’s own trajectory. Episode two introduces music executive Per Sundin (played by Ulf Stenberg), representing the industry’s resistance to change and the struggle to preserve dwindling profits. Legal battles and financial negotiations unfold in later episodes, alongside the portrayal of disillusioned coder Andreas Ehn (portrayed by Joel Lützow), whose quest for control mirrors Ek’s own ambition, albeit in a more personal context. Finally, the series introduces musician Bobbi T (played by Janice Kamya Kavander), providing a platform to address criticisms and challenges from within the industry.
“The Playlist” artfully navigates the complex interplay of technology, business, and creativity, echoing Spotify’s own disruptive journey. Through a multifaceted narrative approach and nuanced character portrayals, the series offers insight into the transformative impact of digital innovation on the music industry while addressing the ethical dilemmas and power struggles inherent in this evolving landscape.
On the surface, “The Playlist” presents itself as a sophisticated, adult-oriented streaming option for the 21st century. With its meticulously balanced approach, the series unfolds through functional story arcs that emphasize the importance of collaboration over constant conflict. Visually, it serves as a showcase of contemporary trends in workspace design, while its soundtrack boasts a diverse array of musical selections, ranging from Amerie’s “Gotta Work” to more traditional pieces like the Hallelujah Chorus. Additionally, Norwegian director Per-Olav Sørensen, bound by Swedish law, ensures a nod to Ace of Base.
However, as the series progresses, it becomes evident that “The Playlist” lacks the electrifying intensity of Fincher’s film. Falling into the realm of executive-level drama, the show appears tailored to resonate with corporate audiences, potentially explaining its rapid greenlighting by network executives. While the final episodes begin to explore the intricate interpersonal conflicts characteristic of Sorkin and Fincher’s work, much of the series revolves around bureaucratic processes, potentially alienating viewers not well-versed in copyright law.
In hindsight, the narrative structure of “The Playlist” seems to prioritize appeasing the various stakeholders involved in its production. Characters are portrayed more as representations of their respective roles within the industry rather than fully fleshed-out individuals, resulting in a series that feels more like carefully orchestrated dealmaking than genuine storytelling. While this approach ensures compliance with legal considerations, it sacrifices the excitement and depth that comes from genuine character development.
Only on rare occasions does music itself transcend its role as a mere backdrop. Moments such as Ek’s impromptu piracy of a Gavin DeGraw track or Bobbi T’s poignant performance of “Tomorrow Is My Turn” resonate on a deeper level, reflecting broader themes of empowerment and resilience. Unfortunately, these instances are overshadowed by the show’s preoccupation with the business side of music – the process of cleaning up, repackaging, and monetizing songs – which ultimately detracts from its overall impact.
In essence, “The Playlist” may impress with its production values and attention to detail, but it lacks the dynamic energy needed to truly captivate audiences. Much like listening to a mid-tempo Coldplay album on Spotify, the series may be aesthetically pleasing, but it fails to evoke the exhilaration that comes from discovering a playlist perfectly tailored to one’s mood.
“The Playlist” is now streaming on Netflix. Six episodes in total; all six were screened for review.
