Spoiler alert: This review contains key plot points for the final episode of The Idol. When it was first announced, The Idol seemed like a natural progression for the Weeknd.
A series for HBO co-created by Reza Fahim and Sam Levinson, director and writer of the unwieldy smash hit Euphoria, was logical for the long-avowed cinephile born Abel Tesfaye, once an unhoused citizen of Toronto who would wander the aisles of indie video stores.
The show’s subject matter was a fit, too: Jocelyn, a troubled pop star on the edge of career dissolution played by Lily-Rose Depp, falls under the sway of the Weeknd’s Tedros Tedros, music manager and sort-of cult leader; all this, set in the spawning pool of depravity that is modern Los Angeles.
The Weeknd’s entire discography is a blow-caked showcase of excess with Tesfaye at the helm as its by-turns reluctant and indiscriminate anti-hero.
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