With the release of the fifth episode of “The Idol,” a brief but intense parenthesis in the world of serialization in recent months, an important chapter has officially closed. The series conceived by the same author of “Euphoria” has finally shown its leaves, dispelling any doubts about its value.
The anticipation that accompanied “The Idol” was heightened by the criticisms and discussions the series aroused. But now the time has come to make a final decision, to fully immerse yourself in the created world and understand its essence. Many consider it a flop, but let’s look at the reviews of the series in more detail.
The Idol: great cast and plot
There is no doubt that “The Idol” has been one of the most anticipated and talked about series of recent times. After plunging us into the problems of Generation Z with the series “Euphoria,” Levinson takes us on another breathtaking adventure. This time it takes us in search of the world of pop music and its brightest stars.
One of the most interesting elements of this series is the stellar cast led by Johnny Depp’s daughter Lily-Rose, who plays Jocelyn, a music superstar who becomes trapped in a cycle of self-destruction following the death of her mother. The path to his reincarnation passes through another music legend, The Weeknd, with his real name, Abel Tesfaye, who plays Tedros, a mysterious nightclub owner and leader of a subspecies of a sect of artists in search of visibility. Is.
The five episodes of “The Idol” focus not only on the erotic relationship between Jocelyn and Tedros, but also on the creative process behind the hit and Jocelyn’s character. The series has given us an extraordinary meta-cinematic reflection on the personal and public worth of stars. It shows us what lies behind the power play between the singer and the labels she represents, and the idea that every artistic expression should be a window onto personal experiences and pain – situations that Jocelyn experienced firsthand. are of.
Furthermore, unlike other programs that only exaggerate the beauty and charm of superstars, “The Idol” shows us the dark side of the music world with a purely managerial and industrial outlook.
rawest aspects of the series
The series’ international campaign stakes everything on sexual excesses, while seeking to shock and discredit audiences. But don’t be fooled, there’s a lot more hiding behind this sexy facade. While some scenes try to push acceptable boundaries, like the photo of Jocelyn with sperm on her face or the intense and choreographed sex sequence, we certainly wouldn’t define this as avant-garde in erotic representation on the small screen. can do.
As the episode progresses, the tabloid effect gradually loses its power, becoming increasingly unnecessary and redundant in comparison to other more interesting dynamics, such as the ongoing toxic relationship between Jocelyn and Tedros. Rather than ideologically condemned, this approach has been marginalized and even rehabilitated to hasty and morally questionable ends. The final installment of The Idol, which has already been the subject of much controversy after its airing, represents perhaps the most honest expression of director Levinson’s intentions, a psychologically warped “happy ending” that is unlike any previously shown. More perverted than erotic scene.
The series, in all its complexity, deals with deep and profound themes that go beyond simple sexual innuendos. The toxicity of human relationships, dark psychological dynamics and loss of personal identity are just some of the elements that are masterfully explored. Rather than focusing solely on shock value, The Idol prompts us to consider the consequences of our actions and the complexities of human nature.
The director is able to create a pervasive and disturbing atmosphere in which the viewer is forced to dig beyond the surface, into the depths of the human soul. The series is known for its ability to capture attention and keep viewers in suspense as it delves into the deepest secrets of the characters’ psyches.
idle problem
The big problem plaguing The Idol, and it’s not what you might think. Unlike Euphoria, which tried to enlighten Gen Z with its theatrics, The Idol doesn’t have a real audience to appeal to. The name itself, “murti”, suggests an object or image, in this case a star, endowed with divine powers. Her lavish mansion, money and glamorous aura undermine any attempt to connect with the audience. It confines itself to observing its illustration, without really recognizing it, because it is distant in many aspects.
Without a defined audience and genuinely interesting subjects with voyeuristic aesthetic backdrops and bright red tones, the result is a story that aims more at campus scandal than staging, a far cry from the raw aspects of Euphoria. Or from the top of the genre cinema. It is the serial equivalent of “Fifty Shades of Grey,” the bestseller that has infuriated only the most puritanical sections of readers and the public. Today, sex and perversions may still attract media attention, but much more is needed to keep it alive.
Unfortunately, Murthy gets lost in the web of appearances. An overemphasis on erotic aesthetics and unnecessary voyeurism undermines the narrative potential and exploration of themes that could make this series truly interesting. It is like a firework that impresses momentarily, but dissipates in the air without leaving any permanent mark.
What makes a series unforgettable is its ability to create an emotional connection with the audience. It is able to immerse him in a world that corresponds to his deepest experiences and feelings. The idol lacks this vital essence. You can’t get that sympathetic bond with the characters. They seem distant and inaccessible, immersed in a world of luxury and glamor that does not belong to us.
The true value of a series lies not only in its sensational appeal, but also in its ability to tackle complex subjects in an engaging and in-depth manner. Unfortunately, Idol fails to maintain this balance. Let yourself get carried away with wanting something more. A story that goes beyond appearances and that engages us on a deeper level.
Ultimately, The Idol gets lost in its desire for scandal, forsaking the opportunity to deal with authentic and engaging subjects. The series needs a soul, a narrative direction that goes beyond the sensual surface.