5 things that went wrong with The Idol – Finale recap, fan reactions and more

HBO’s highly anticipated series, The Idol, embarked on a tumultuous journey that left viewers feeling disappointed and yearning for more. From the very beginning, The Idol captured the attention of audiences with its unique premise—a pop star entangled in a passionate love affair with a mysterious cult leader. The casting of The Weeknd, a renowned musician-turned-actor, further heightened the intrigue surrounding the series, especially after his memorable cameo in the film “Uncut Gems.”

However, as the episodes unfolded, it became evident that the initial promise and potential were not fully realized. Rumors began to circulate about conflicts between director Amy Seimetz and show creator Sam Levinson, ultimately resulting in Seimetz’s departure from the project. This unexpected change in leadership undoubtedly had a profound impact on the overall vision and execution of the show, leading to a series riddled with unfortunate missteps and missed opportunities.

Lackluster acting stole The Idol’s luster

One of the most glaring issues with The Idol was the lackluster acting, particularly from The Weeknd himself. While he has achieved great success as a musician, his foray into acting proved underwhelming. His performance lacked depth and authenticity, leaving viewers unimpressed and longing for stronger talent on the screen. It became evident that The Weeknd’s strengths lie in his musical endeavors, and Hollywood scripts might not be his forte.

The Idol failed to use the initial potential that the script had

Furthermore, the show failed to live up to its initial potential. The premiere episode presented an intriguing analysis of the music industry, delving into the inner workings of Jocelyn’s career. However, subsequent episodes fell short in following through with these captivating ideas, leaving viewers to piece together the intended message—if there was one at all. The lack of a clear narrative throughline became a frustrating aspect, as the show meandered without significant story progression.

Integration of music in The Idol could not create the magic it hoped for

Additionally, the integration of music, which initially seemed promising, disappointed as the series progressed. The premiere introduced catchy, ironically good pop music that captivated audiences. Yet, subsequent episodes failed to capitalize on this potential, relying heavily on ’80s saxophone music that felt out of touch and missed the mark.

Too much explicit content but where’s the plot?

The Idol also stumbled when it came to depicting sexual content. The show’s portrayal of sex felt compulsory, lacking the intended eroticism. Attempts to correlate Jocelyn’s past trauma with her sexual desires fell flat, leaving viewers confused and the scenes more degrading than meaningful. The multiple sex scenes became gratuitous and failed to serve a significant purpose in advancing the narrative.

Aimless narration, abrupt ending

Moreover, the plot of The Idol felt aimless and lacked stakes. Tertiary characters were underutilized, and narrative progression was minimal. Promising storylines were introduced only to be abandoned, leaving viewers wondering if the show had a clear endgame in mind. The lack of a cohesive narrative left audiences unsatisfied and craving a sense of purpose and direction.

Here’s how fans reacted to The Idol’s finale:

As the long-awaited finale of The Idol finally graced viewers’ screens, many held their breath, hoping for a grand redemption that would make amends for the series’ flaws. Alas, the expectations were once again dashed, as the concluding episode failed to deliver the closure viewers yearned for. Instead of offering a gratifying resolution, it seemed to amplify the frustrations and letdowns we endured throughout the entire season.

As the curtain falls on The Idol, it stands as a cautionary tale about the perils of missed opportunities and the negative impact of egos in the world of showbiz. The chaotic behind-the-scenes drama and troubled rollout overshadowed any potential for a compelling analysis of the music industry’s toxicity.