Watching The Idol is a shock: Third episode’s shocking scene revolves around a hairbrush

The specter of Jocelyn’s (Lily-Rose Depp) mother’s death looms large throughout the episode. Sculpture, overseeing Starr’s efforts to revive his now stalled career. It’s clear that Jocelyn – whom her record company would no doubt prefer as a mindless automaton that produces hits on demand – hasn’t been given enough time or space to grieve. As Jamie Lee Curtis has said many times: such a play is always a travesty and it would seem obvious, even in this SculptureThat an attempt was made, at least, to give life a moment of greater reflection and complexity.

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the problem of Sculpture, However, it is that he is unable to express delicate feelings and brutally overwhelms them, just as Tedros does with Jocelyn in the first minutes of the third episode. Jocelyn’s pain is, in fact, handled with extreme superficiality, shown only in great moments of tears, such as during the second episode, in which Jocelyn interrupts a recording session of a music video to see her mother. Could invite dramatically, fell to the ground.

here, then, that, in the third episode, dawn, Jocelyn exploded. During dinner with her team (now under the nefarious control of Tedros, as thin as ever that day), the girl, in fact, reveals that her mother used to abuse her, beating her with a hairbrush ” There, where the sun does not shine “. Barrels to educate “a little like dogs”.

That hairbrush, for some unknown reason, claims to be his. So Tedros pressed on: “You have to turn trauma into inspiration”. (No, it’s not hallucinating, it’s really what it’s meant to be. Go back and check. It’s about 39 minutes and 30 seconds in). “Do you still have that hairbrush? Well, go get it.”

Tedros, after standing him around, as is often the case during the series, between his own groups (without Rachel Sennot’s Leia, the only character truly sane), beats him bloody. Levinson shot the scene with a dreamlike glow. During both the first shot and the anticipation that follows, the camera remains glued to Jocelyn’s face. She screams, then there is silence and tears flow. “This is really going to hurt,” Tedros whispers in Jocelyn’s ear, just before reaching for the hairbrush. “But if you get over the pain, it will be beautiful.” It is the rhetoric of the victim artist who is literally tortured here, in a scene that amounts to an idle provocation, completely devoid of meaning. Wouldn’t it make more sense to take a nice walk or see a counselor?

It is a meaningless and deeply unpleasant sight to behold. It’s much worse than the awful and now famous sex sequence from the second episode, very unsexy. was created to be the most provocative product of television, in a constant aspiration to be like the show game of Thrones, but it’s downright unfortunate to see Jocelyn — and by extension, Lily-Rose Depp — sobbing uncontrollably without clothes while being spanked like a mean kid. This scene evokes only one reaction – and the only question that arises when watching Sculpture IS: What is the purpose of all this? What does it mean? The Weeknd Wasn’t Good Anymore When His Only Acting Moment Was That Part rough diamonds,

There’s also something to be said for the way Levinson relishes the opportunity to capture the suffering of women. If he’s not trying to get the lighting right for another close-up of Lily-Rose’s ace slit, he’s actually zooming in on her tear-stained face or quivering lips. this is their general direction Sculpture, but in this case it turned out to be even worse. Try comparing the described moment with Sidney Sweeney’s famous fall in the hot tub. Excitement, For example. That scene, too, is the product of several bad decisions, culminating in this brilliantly developed, forced piece of comedic mayhem. SculptureHowever, succumbs to the pain of the protagonist. Always.

Article originally published at GQ UK

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