After months of speculation over the controversial nature of the show, The Idol premiered this week. The sex and drugs-fuelled drama is the brainchild of Euphoria creator Sam Levinson, musician the Weeknd (born Abel Tesfaye), and Reza Fahim. It tells the fictional tale of young female pop star Jocelyn, portrayed by Lily-Rose Depp, who is navigating life as a hot commodity in Hollywood. Things take a turn when she falls under the spell of nightclub owner and cult leader Tedros, brought to life by Tesfaye.
When we meet Jocelyn, she’s taking part in a photoshoot for her album cover. Her silky robe, worn open to expose her bare chest, is accompanied by a rather unusual accessory: a hospital wristband. Highlighting the fact that Jocelyn is returning to work following a breakdown, a newer member of the team queries: “Aren’t we romanticising mental illness?” To this, Jocelyn’s record label manager insists that “mental illness is sexy” and urges her younger colleague to “stop c*ckblocking America.” She enthuses: “Will you let people enjoy sex, drugs, and hot girls?” It soon becomes apparent that those three things are hallmarks of the series.
Next, Jocelyn instructs one of her managers to axe the intimacy coordinator from the set, as she doesn't want to be restricted. He's swiftly locked in a nearby bathroom. But this drama pales in comparison to the major bombshell which occurs when someone leaks a picture of Jocelyn with semen on her face, sending her team into crisis mode. All of this happens in the first 10 minutes of the show. A standard welcome, by Levinson’s standards.
“It is certainly trying hard to shock and titillate us,” Vanity Fair said of the drama in a withering review, following the premiere of the first two episodes in Cannes. Voicing concern over the series’ misogynistic elements, Variety remarked: “The Idol plays like a sordid male fantasy.” However, criticisms of the show started long before Cannes. In March, Rolling Stone released a damning report claiming that the series had gone “disgustingly off the rails” and had ventured into “torture porn.” The article noted how the series’ original director, Amy Seimetz, left after working on much of the project. Tesfaye had reportedly felt that the series was leaning too much into a “female perspective.” According to the publication, The Idol headed into a different territory under Levinson’s direction, with “disturbing sexual content and nudity” overtaking the narrative.
The cast and crew addressed the controversy during a Q&A at the film festival. Depp steadfastly defended the project and her director, claiming that the “mean, false things'' said were not reflective of her experience on set. Levinson’s comeback was all the more enlightening, as he admitted his initial response to the article was: “I think we’re about to have the biggest show of the summer.” And he may well have been on to something, as the controversy only seemed to heighten interest in the series. Following the Cannes reviews, searches for The Idol skyrocketed 1134%. By comparison, the esteemed Palme d'Or winner, Anatomy of a Fall, received just 8,000 searches.
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This isn’t the first controversy to come knocking at Levinson’s door. The on-screen nudity and depictions of sex and drugs in teen drama Euphoria have previously sparked discussions. Actresses from the series have opened up about requesting that some nude scenes be cut. Sydney Sweeney revealed that she questioned the necessity of certain “shirtless” scenes involving her character Cassie in Season 2. She noted that Levinson was forthcoming about her notes and changed the instances to reflect her wishes.
While Levinson is banking on The Idol being a talking point this summer, just how concerned should viewers be about the content? It’s admittedly hard to judge from the premiere alone, although the eventful episode does lay a lot of groundwork. The music industry suits are depicted as unforgiving in the face of Jocelyn’s mental health troubles. Her mum’s fatal cancer battle is mentioned in the episode as an indicator of her past trauma. However, everyone’s main priority is getting Jocelyn back to work. There is money to be earned. You can’t help but think about the real-life dark underbelly of the industry as the story unfolds. This becomes more poignant when Britney Spears is mentioned.
Jocelyn performs a dance described as an homage to Spears. Drawing a comparison between the musicians, a publicist notes how the press has been “brutal” to both women. If ever there was a cautionary tale about the dangers of Hollywood teams exerting power over their star female client, it’s that of Spears. In her case, the matter was made all the more complicated as it was her father, Jamie, who had control of her financial affairs, career, and estate during a controversial 13-year conservatorship.
It’s important to note that Jocelyn, despite her vulnerable position, is not without power. It’s Jocelyn who initiates the move to axe the intimacy coordinator, citing that she has autonomy over what parts of her body she will show. And during a telling interview with a Vanity Fair reporter, the musician refuses to dissect the picture scandal. Interestingly, when Jocelyn’s team are planning damage control, they express a desire to take the pop star from a “victim” to a “feminist hero.” Da'Vine Joy Randolph, who portrays Jocelyn’s co-manager Destiny, teased something of this nature. During the Cannes Q&A, she insisted that the series as a whole is “femme forward.”
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The ending of the first episode, however, is void of female empowerment. Jocelyn, after striking up an instant connection with nightclub owner Tedros, goes home and pleasures herself, while grabbing her own throat. When Jocelyn’s assistant expresses distaste over Tedros’ “rape-y” vibes, the singer claims to “kinda like that about him.” The theme of asphyxiation is revisited during Tedros and Jocelyn's bizarre second encounter. Tedros takes the pop star’s robe and puts it over her head. He then proceeds to tie the belt around her neck, cutting her oxygen supply. As she gasps, he tells her not to be scared, before using a pocket knife to cut a hole in the fabric for her to breathe. There’s a significant shift in power, leaving Tedros very much in control.
The impact of misogyny, even that depicted on screen, can be all too real. Studies show that viewing habits can affect our thinking and cognitive abilities. This year alone, we’ve seen a worrying incline in misogynistic thoughts and practices seeping into the mainstream. Campaigners have voiced concern over the impact of influencer Andrew Tate’s misogynistic teachings. Baroness Casey’s damning report on the Met Police showed there is a persistent issue with misogyny within the force. Another indicator of the widespread problem is the rise of deepfake pornography, which poses a very real threat to women.
We can only hope that if the overtones of misogyny continue in The Idol, it won’t be depicted in a glamorised way to viewers, and will instead serve as a warning tale. In this respect, the audience also carries some responsibility to ensure we engage in open conversations about what we’re viewing, and the influence it holds both on and off the screen.
GLAMOUR has reached out to Sam Levinson for comment.
