That finale felt particularly incomprehensible, trying to paint Jocelyn as the master manipulator pulling the strings, but with a buildup that made little sense. What played out on screen seemed to support accounts, denied by those involved with its production, about the show being creatively troubled and chaotic behind the scenes, with Rolling Stone reporting the series had gone “off the rails.” Yes, the show bent over backwards (and occasionally forwards and sideways) to feel provocative, but its most salient flaw wasn’t so much being offensive as simply boring, a quality that persisted over its five episodes. In hindsight, the negative reaction to “The Idol” when it premiered at the Cannes Film Festival was overblown – not because the show was better than advertised, but because it was such a conspicuous dud as to appear unworthy of all the condemnation festival critics had hurled at it. ![]() Discovery) bought the flash and sizzle, and wound up with a laughably bad “Showgirls” for our times, bringing its run of sterling dramatic successes (see “Succession,” The White Lotus” and “The Last of Us”) to a crashing and conspicuous halt. In saying “yes” to the pitch, HBO (like CNN, a unit of Warner Bros. In this case, the shiny object was the tantalizing pairing of “Euphoria” creator Sam Levinson and musical star Abel “The Weeknd” Tesfaye, producing an edgy, glamorous-looking series about a pop star, Jocelyn (Lily-Rose Depp), seduced by a shady hustler, Tedros (played by Tesfaye), and drawn into his sort-of cult. “The Idol” presented a cautionary show-business tale, all right, just not the one that was intended about suffering for art or “All About Eve”-like scheming to get ahead rather, the show serves as a warning about the dangers executives brave when they allow hot talent to run wild and free, only to watch them lay a giant egg that goes splat instead of a golden one.
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