Title: Scathing Review Labels “The Idol” Finale the Worst Show of the Year
Subtitle: Lily-Rose Depp and The Weeknd’s Series Receives Harsh Criticism for Explicit Content and Lackluster Execution
By Robert Scucci | Published 6 mins ago
Ed Power of The Telegraph has recently published a scathing review dissecting the finale of “The Idol,” labeling it the worst show of the year and a potential “turkey for the ages.” While the Lily-Rose Depp and Abel Tesfaye (The Weeknd) series had already faced criticism for its sexist overtones and risqué nature, the final episode has drawn an even worse condemnation: the show simply isn’t good.
“The Idol” has been bombarded with negative reviews, with critics already deeming it the worst show of the year. Power’s one-star review only adds to the abysmal 19 percent critical score the series currently holds on Rotten Tomatoes. As more reviews pour in, it becomes clear that Power’s opinion is not an isolated one.
Centered around Lily-Rose Depp’s character, Jocelyn, a troubled pop star attempting to reclaim her status as America’s sexiest pop star, “The Idol” depicts her journey after a nervous breakdown and tour cancellation. Jocelyn forms a relationship with Tedros (played by Tesafaye), who moves into her mansion with his entourage and manipulates her with his erratic and domineering behavior, as well as aggressive sexual advances.
The series has been heavily criticized for its sexually explicit scenes, leading to comparisons with the ill-fated erotic drama “Showgirls” from 1995. The explicit nature of the program suggests that the execution did not align with the intended message, exacerbating the frustration for viewers. Director Sam Levinson (“Euphoria”) and Able Tesfaye incorporated heavy-handed rewrites following Amy Seimetz’s sudden exit from the series, resulting in a mismatched portrayal of the show’s themes.
Despite attempts to revamp the series, including rewrites that garnered criticism for being misogynistic, uncomfortable, try-hard, and cringe-worthy, the prevailing sentiment surrounding “The Idol” is that it is also boring. This raises questions about whether the promise the show once held under Seimetz’s direction was lost or if it was doomed from the start.
In addition to the existing criticisms, “The Idol” also suffered from a confusing plot and too many loose ends. HBO’s decision to air only five episodes instead of the originally planned six further muddled the storylines, leaving little resolution in several cases. Reviewers also pointed out appalling dialogue, lack of character development, and unsatisfying story arcs.
In summary, although “The Idol” has only aired five episodes so far, it has already received more than its fair share of negative reviews. The future of the series remains uncertain, but only time will tell if it gains a cult following similar to Tommy Wiseau’s “The Room,” which initially received poor reviews but has since become an entertaining curiosity.
For now, critics are just relieved that “The Idol” has come to an end.