There is a world where The Idol would have been a hit: A story about a star who has just lost the person closest to them, who has unraveled and is being used by everyone around her like a cash cow, who is the target of predatory men eager to take advantage of her vulnerability. There is a world where that predictable but entertaining story would actually flourish — but that version of The Idol is not written by Sam Levinson, nor is it directed by him.
'The Idol' Should Follow a Pop Star's Rise, But Loses Focus The series starts with Jocelyn planning her comeback; she is determined to return to her former status as an idol. The people around her are either vultures or yes men, feeding off of her talent and success and eager to push her back onto the stage even if she hates the songs she's singing, hates the moves she's dancing to, and hates the music video she has to film.
What Levinson perceives as provocative and subversive is rather underwhelming. How can a show with so much nudity, sex, and eroticism be so bland? There's no substance behind his style. Perhaps more will arise in later episodes as we learn more about Tedros, but simply showing a wealth of nudity or sex is not enough. Levinson's style is fully on display, and sometimes it works, but whether by design or through a fault of editing, the episodes are messy.
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