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As it is, we’re given 40-minute windows – the span of the average meeting – with composite-like figures who forever seem more important for the positions they occupy than for who they are as people.

In retrospect, even the narrative baton-passing seems chiefly to reflect the signatures of the many interested parties who were obliged to sign off on the finished product. The final two episodes start to mine the complex interpersonal conflict Sorkin and Fincher ran with, but until then, it’s mostly a matter of paperwork though these negotiations have been simplified for a Netflix audience, the first half may only hook viewers trained in copyright law. “The Playlist” falls squarely into the category of executive-level drama, another of those recent programming choices the suits were surely quick to greenlight on the basis that they connected with the corporate politics in play.

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What it lacks – and this becomes palpable as the series progresses – is anything like the electric thrill of the Fincher film.

(Norwegian director Per-Olav Sørensen is also bound by Swedish law to fire up some Ace of Base.) Visually, it’s been conceived as a lookbook of recent trends in hotdesking and hub design and the soundtrack is inevitably rich in resources, from Amerie’s “Gotta Work” to the arguably lesser achievement of the Hallelujah Chorus. Superficially, it all shapes up as a classy, adult 21st century streaming option: scrupulously even-handed, it scatters its research over functional mini-arcs in which everybody learns collaboration is better than continually butting heads. Later episodes send in the lawyers and moneymen plus, malcontent coder Andreas Ehn (Joel Lützow), installing algorithms to gain a control he can’t obtain over girls in an episode that’s as close as “The Playlist” gets to “The Social Network” and finally musician and single mother Bobbi T (Janice Kamya Kavander), through whom the show can address some of the pushback. These are detailed over the course of subsequent episodes, which shuffle between story streams in a way that seems broadly analogous to the platform’s own MO.Įpisode two dramatizes the industry reaction, introducing music exec Per Sundin (Ulf Stenberg), a man trying to protect what’s left of an ever-dwindling pie, instantly characterized by his living-room jukebox.

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On one hand, he’s solving an urgent problem – how to drag the music industry into the digital age – but his hastily executed fix has unanticipated consequences. Like “The Social Network’s” Mark Zuckerberg, the show’s Ek is driven by rejection – though here it’s not by a girl, but by Google, driving him to target the billion-dollar middle ground between pre-existing corporate control and The Pirate Bay’s torrent-led new order. As his voiceover puts it, demonstrating a not atypical lack of irony and self-awareness: “No one should have power over music in that way.” Pale, balding and socially awkward, this Ek (Edvin Endre) is a neurotic outsider from a lowly background who remembers record-store hipsters sneering when he used coins to buy an Aretha Franklin CD for his beloved mother. We get the backstory in opening instalment “The Vision,” which introduces us to Spotify founder Daniel Ek as he was in 2004. Dramatizing competing narratives from the pages of Sven Carlsson and Jonas Leijonhufvud’s non-fiction compendium “Spotify Untold,” the show posits that, with this app, much depends on who you’re listening to – even if it all begins to sound highly authorized after a while. “Wallander” producers Yellow Bird believe they’ve sourced a comparably gripping tale in “ The Playlist,” a six-part Netflix miniseries centring on Swedish success story Spotify, the streaming platform that revolutionized music listening while causing understandable conniptions in Neil Young. Plus, David Fincher and Aaron Sorkin’s 2010 feature “The Social Network,” on the turbulent genesis of Facebook, set the bar stratospherically high. A heightened threat of litigation is doubtless one reason equally, round-the-clock coding rarely makes for the most compelling spectator sport, however pounding the electronica you set it to. While they’ve inspired such enjoyable exaggerations as FX’s “Devs” and Apple’s “Mythic Quest,” the inner workings of the real-life tech space have largely been deemed off-limits by producers.