In the opening scene, Jocelyn (Lily-Rose Depp), the protagonist of the new HBO series “The Idol,” is posing topless for her album cover. An intimacy coordinator bursts in and tells the photographer to stop shooting because areolas are not allowed per the nudity rider. In the background, Fiona Apple’s 1990s hit “Criminal” is playing, and two members of Jocelyn’s entourage describe her alternately as Brigitte Bardot and Sharon Tate, making reference to the actress and Manson murder victim. Throughout the premiere, other celebrities are mentioned, such as Britney Spears, Prince and Donna Summer. However, the use of “Criminal” stands out among the cultural references. The track is far more complex than its coquettish “bad girl” lyric suggests; it explores themes of personal morality, shame, and sexuality.
Jocelyn’s journey to push past the superficiality of the pop music industry leads her to Tedros (Abel Tesfaye), who tells her that “pop music is like the ultimate Trojan Horse.” Despite Tesfaye’s involvement in creating the series, it doesn’t delve deep into the world of pop music. The show is more interested in shock value, with the use of sex, drugs, and provocative attire. The protagonist, Jocelyn, is trying to stage a comeback after the death of her mother to cancer and some negative press. She is not sure if she loves the business or hates it, and the series struggles to make up its mind about her besides her skimpy clothing, sunglasses, and thin cigarettes.
Jocelyn appears both exhausted and playful, seductive and disaffected. She brushes off the intimacy coordinator and is drawn to Tedros, a club owner with a thin braid down the back of his head, after he commands her on the dance floor while Madonna’s “Like a Prayer” plays. It is unclear why Jocelyn is attracted to him; even her assistant and best friend, Leia (Rachel Sennott), tells her that he seems “rapey.” While it appears that Jocelyn wants someone to help her develop her artistry, Tedros seems to spout surface-level opinions.
In a scene at Jocelyn’s home studio, Tedros takes out a knife, commands her to open her mouth, and cuts a hole in a scene that appears to be foreplay. She is nearly suffocating when he says, “Now you can sing.” The last scene ends with Jocelyn’s head entirely covered, leaving the audience to question if she is being liberated or subjugated and leaving us to wonder what Fiona Apple would think about all of this.
Liner notes
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According to Tesfaye and Levinson, the show takes unpredictable turns, and Tesfaye believes that Tedros is “pathetic.”
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The most relatable thing to happen on the show so far is Leia asking the bartender at Tedros’s club for water and complaining that “it’s been like seven minutes.”
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Hank Azaria’s portrayal of Jocelyn’s manager, Chaim, is a new level of over-the-top.
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This show is testing the limits of what can be said in The New York Times. Some lines of dialogue were deemed unquotable.
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The show features many cast members, including the talented Da’Vine Joy Randolph, who has yet to have a significant role in the premiere.
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“World Class Sinner,” one of Jocelyn’s singles, is quite catchy.
