To be honest, I started watching it with the suspicion that it was a publicity stunt by Spotify itself.
The acting was good, Except for maybe the Andreas Ehn (The Coder) character. Seemed a bit like a chliché for that type of character. I don't think it's the actors fault, though, maybe an issue with either writing or directing. Just reminded me of Simon from Misfits. Of course characters can be similar, but Andreas Ehn just didn't feel authentic.
Overall, It seems like they didn't have a huge budget, but made the best of it anyway.
For me, that hallway with lots of doors was a good instant travel device for storytellings sake. Coming from a country with really long series with lots of starings and pointless action/danger music during driving or a boring conversation, it was really refreshing to see that the storyteller wanted to keep the story moving by skipping daily routines, needless conversations, etc...
One thing made me curious, though; what music database was used when presenting the program at first? Because I remember using the actual program back in 2008 or something and it wasn't possible to find everything there.
The music used in the series was... Well, I liked the variety every character searched when they first tried out the software, but that Bobbie T. Music wasn't really as special as they wanted it to be.
The first song that was playing in a bar that was supposed to have that superstar feeling to it just... didn't have it, it felt quite ordinary.
And the music used in the last episode when Bobbie T. Was singing in a bar, it was nice, but I don't think a quiet song in "marche harmonique" can really turn heads in a bar full of distracted customers.
So, generally, characters being impressed by the original music in the series wasn't believable from the point of view of a musician. Not criticising the performance of the musicians, though, but the written music.
The ending felt a bit out there. It felt like the only genuine critique of the business practise of the company came at the end, that, for me, kind of broke the thought that the whole series may have been an attempt to "sweetify" Spotify. I still think they're doing what Pirate Bay did, with the slight difference of tipping the musicians a bit.
Overall, I liked the tempo of the whole series. Changing the story a bit from each characters accord was a good idea, made the whole thing more interesting.
I also appreciated the informative nature of the whole work with technical details about the software, the business deal parts about music rights, and the making ends meet difficulties of the life of a musician.
The acting was good, Except for maybe the Andreas Ehn (The Coder) character. Seemed a bit like a chliché for that type of character. I don't think it's the actors fault, though, maybe an issue with either writing or directing. Just reminded me of Simon from Misfits. Of course characters can be similar, but Andreas Ehn just didn't feel authentic.
Overall, It seems like they didn't have a huge budget, but made the best of it anyway.
For me, that hallway with lots of doors was a good instant travel device for storytellings sake. Coming from a country with really long series with lots of starings and pointless action/danger music during driving or a boring conversation, it was really refreshing to see that the storyteller wanted to keep the story moving by skipping daily routines, needless conversations, etc...
One thing made me curious, though; what music database was used when presenting the program at first? Because I remember using the actual program back in 2008 or something and it wasn't possible to find everything there.
The music used in the series was... Well, I liked the variety every character searched when they first tried out the software, but that Bobbie T. Music wasn't really as special as they wanted it to be.
The first song that was playing in a bar that was supposed to have that superstar feeling to it just... didn't have it, it felt quite ordinary.
And the music used in the last episode when Bobbie T. Was singing in a bar, it was nice, but I don't think a quiet song in "marche harmonique" can really turn heads in a bar full of distracted customers.
So, generally, characters being impressed by the original music in the series wasn't believable from the point of view of a musician. Not criticising the performance of the musicians, though, but the written music.
The ending felt a bit out there. It felt like the only genuine critique of the business practise of the company came at the end, that, for me, kind of broke the thought that the whole series may have been an attempt to "sweetify" Spotify. I still think they're doing what Pirate Bay did, with the slight difference of tipping the musicians a bit.
Overall, I liked the tempo of the whole series. Changing the story a bit from each characters accord was a good idea, made the whole thing more interesting.
I also appreciated the informative nature of the whole work with technical details about the software, the business deal parts about music rights, and the making ends meet difficulties of the life of a musician.