REVIEW: The Idol – Season 1 (2023)

"This is gonna hurt, but if you push through, it's going to be beautiful."

Television Reviews

Recently The Idol hit HBO and the newly rebranded Max streaming service. Created by Euphoria mastermind Sam Levinson and starring Abel “The Weeknd” Tesfaye and Lily-Rose Depp, this series follows popstar Jocelyn (Depp) as she spirals out of control in the wake of her mother’s death. I was interested in this show from the outset. The premise and drama aren’t usually my thing; I prefer fantasy settings, historical times, or something unrealistic. The Idol goes beyond reality into the surreal, showcasing and questioning the bizarre way celebrities are treated and expected to behave. I don’t know anything about the inner workings of the music industry, but much of what Jocelyn experiences is reminiscent of the various horror stories we’ve heard from people like Britney Spears and Miley Cyrus. I mainly wanted to watch the show because of Euphoria, which surprised me since it’s a high-school drama, something else I hate, but it’s so good. I also like The Weeknd’s music most of the time. I always thought of him as a more commercial Labrinth, who, of course, composes and song-writes for Euphoria. Grab your backstage pass, and let’s have a look. 

A year after her mother’s death, pop icon Jocelyn is at her lowest point creatively and in popularity. Jocelyn’s friends and management team are shocked as a local club owner named Tedros (Tesfaye) sinks his teeth into her, taking control of her house and social circle. Soon, he makes all the decisions and moves his crew into her home, which becomes more and more like a cult compound. Tedros wants power, Jocelyn wants to regain her influence, and her team just wants her to release an album so they can make some money. Whose scheming will win out in the end?

The Idol is nothing if not a critique of our obsession with celebrities and the intense pressure this can create. The show has much more to say than just that, digging into questions surrounding role models, family, sex, abuse, and what it takes to make art. There has been a lot of discourse regarding exploitation in this show. I’ve seen and heard far more of that than critique of the performances, script, etc. The cast has emphatically denied any impropriety or abuse on set, so I don’t know why this idea persists. HBO is no stranger to nudity in its shows, and Lily-Rose Depp wanted to do it for the art. Unless genuine harm is done, I hate it when politics overshadow the art. Why is this the main topic of discussion? People intentionally miss the point of a show that challenges how people like Jocelyn are treated. She’s rich and famous, but nobody tries to understand or connect with her. The people closest to her only see her as a meal ticket or a sex object. I don’t understand taking all of that in and being upset about Depp’s nipples.

*SPOILERS*

The acting in the show varies from excellent to unremarkable. None of the major players is terrible, but some performances are definitely superior to others. The Weeknd had a strong creative hand in this series, and it shows. For one thing, his performance as Tedros is genuinely terrifying at times. There’s a scene early on where he rehearses greeting Jocelyn, watching his face in the mirror. Everything about this man is a manufactured act to get what he wants. He can’t be genuine with her and present in the moment because then he may not be compelling enough. Tedros is always actively planning on who he can next manipulate for personal gain. Even his intimate encounters with Jocelyn are engineered to suck her in and make her dependent on him. It helps that Jocelyn is already profoundly messed up, making her the perfect target for his ministrations.

It’s uncomfortable to watch, but the opening scene of episode 1 showcases the cracks in Jocelyn’s facade well. She can cry on demand, but that’s because she’s barely keeping it together, to begin with. She playfully poses for her album cover as an intimacy coordinator protests, insisting she cover up. This scene is just staged really well, and “The Lure” by The Weeknd and Mike Dean (who later appears in the show) sets the tone for the series. Whatever comes later on, this whole opening segment with Jocelyn is brilliant. They tell us so much about her character and bizarre life with little dialogue and screen time. There aren’t many likable characters in The Idol, especially later on as we learn more about Jocelyn, as well as team members like backup dancer Dyanne (Blackpink’s Jennie Kim) and Xander (Troye Sivan). But my favorite characters are Jocelyn’s manager Chaim (Hank Azaria) and promoter Andrew Finkelstein (Eli Roth). Chaim is hilarious, and I love his incredulity when Jocelyn goes viral for an embarrassing picture. Everyone keeps saying, “It could be worse,” leaving the puzzled man wondering how things could be worse. Finkelstein is a jerk but in an entertaining way. Much of The Idol is intentionally played over the top in an almost self-satirical manner. I think of Tedros introducing Mike Dean, who walks into Jocelyn’s house puffing on a bong he never sets down. I don’t know much about Dean, but I would guess that this is an inside joke or a loving jab at his (presumably more casual) drug use. 

The most interesting facet of The Idol is the game Jocelyn and Tedros are playing. Early on, it seems like he’s using her for all she’s worth, and she lets it happen because, far from being naïve, she wants it. However, in the last two episodes, this is thrown into question. It looks more like Jocelyn was manipulating Tedros right back, stealing his protégés and industry connections while her PR team destroys him. Throughout Tedros’ infestation of Jocelyn’s house, he runs his group of talented youngsters like a cult. He even picks a scapegoat, Xander, to torture and blame for his and Jocelyn’s problems. I was surprised by how far The Idol leans into true crime ugliness with Tedros, but I’m not complaining. In the end, Jocelyn resorts to similar tactics, destroying Dyanne’s career before it could ever take off and watching as Tedros destroys her (innocent) ex-boyfriend’s image just because Jocelyn showed interest in him. 

Overall, The Idol isn’t perfect, and it’s not for everyone, but I enjoyed it. I believe this is The Weeknd’s first significant acting role, or at least the first one I’ve seen, and he kills it. Tedros oozes creepiness and stalker vibes from his first frame. Lily-Rose Depp doesn’t slack off, bringing into sharp focus the image of a fading star who may not be as helpless and mentally ill as she appears. The soundtrack is also wonderfully moody and evocative. Highlights include “Like a God” and “The Lure,” which is just haunting. Seriously, I can’t extract this tune from my brain. The Idol is not as good as Euphoria, but I didn’t expect it to be. On its own terms, the show is pretty good, which isn’t nothing.