Directed by: Sam Levinson
Distributed by: Max
Written by Jeff Sparks
80/100
Originally viewed upon release, I recently rewatched “The Idol” in preparation for this write-up. After browsing through my previous notes I discovered the last thing I jotted down was “might like more on rewatch.” If you’re looking for yet another article panning Sam Levinson’s newest series you’ll need to look elsewhere because after two viewings I can comfortably say that “The Idol” is one of the best of 2023. Featuring an ensemble cast, the series stars Lily Rose-Depp, The Weeknd, Rachel Sennott, Suzanna Son, Hank Azaria, Da’Vine Joy Randolph, Hari Nef, and Eli Roth. Rose-Depp stars as Jocelyn, one of the biggest pop stars on the planet. After taking time off following her mother’s passing she is ready to get back to making music until a scandal disrupts her comeback. When she meets a shady manager with a violent past named Tedros (The Weeknd) she invites him and his odd but talented band of misfits into her home to help her produce her next record.
Every year there’s at least one project that audiences love to hate for its artistic liberties. Last year it was “Blonde,” and this year it’s “The Idol.” One of the main complaints is the amount of nudity and the graphic depiction of sexuality shown onscreen. Levinson’s show lavishes in excess no doubt but American audiences have always been afraid of nudity and provocation in their entertainment so the backlash to the show doesn’t come as much of a surprise. One comment that always gets made is that nudity or sexual content isn’t “necessary” in films and television. This type of thought process comes off as a glorified outcry for censorship by viewers who don’t understand that not every film or series is meant for everyone. Nothing is necessary in art, but in a situation like this, the only person who can decide what is is the auteur at the helm. And as long as the actors performing the scenes are comfortable with the content in question then there is no reason to restrict content in the images of a fictional work of art as there’s a viewer discretion advisory at the start of each episode for a reason.
One aspect of the show that certainly doesn’t deserve any criticism is the acting. Lily-Rose Depp excels as the multi-layered idol Jocelyn while The Weeknd proves he can perform on the screen as well as the booth in his villainous role that requires him to command your attention at all times. Besides the two stars, the rest of the cast leaves lasting impressions, especially Hank Azaria as Jocelyn’s no BS manager along with Eli Roth as an always annoyed Live Nation executive. My personal favorite in the cast, Suzanna Son, stands out in particular in her first role since her starring turn in Sean Baker’s “Red Rocket.” Here she plays Chloe, a homeless artist taken in by Tedros. Like many of the other cast members, she wrote music for her character that she plays beautifully in multiple scenes. Besides her music, Son brings an abundance of energy to every episode as Chloe.
On its surface, the script doesn’t always work in terms of believability, especially if you approach “The Idol” like any other show by viewing Jocelyn as a protagonist that you should root for. The characters aren’t the focus but rather what they represent in the industry that they inhabit. In Levinson’s music industry everybody uses everybody to achieve what they desire. Tedros’s crew uses him to get to Jocelyn while she uses him to create new music while her managers use her to make themselves more money. No one is authentic in this industry, not even the worldwide superstar Jocelyn who resembles plenty of stars our society has idolized over the years. Even when she makes her comeback the language she uses, calling her fans “her angels” isn’t something that she came up with, hearing it from Tedros the second time they met. At first, it seems Jocelyn is the one being taken advantage of by this cult leader-like manager but by the time the credits roll, it’s evident she is just as much a villain as he is, being a product of the superficial world of mainstream pop music that she is.
Viewers came in ready to hate “The Idol” long before they had even seen it, basing their opinions on early reviews and popular opinion. Often times when mass audiences hate something there’s something of merit underneath the cloud of controversy. The exquisite cinematography, excellent pacing, alluring editing, and surprising rewatch value make 2023’s most-hated show solidify Sam Levinson as one of the best artists we have today. It may not be on the level of his other series “Euphoria” but “The Idol” is an excellent show that future viewers should watch with an open mind and give a fair shot to.
“The Idol” Trailer
You can follow Jeff Sparks on Instagram, Letterboxd, and Twitter.