new series The Idol
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We’ve had this conversation one too many times before, but here we are again. One of the most anticipated series of the year, The Idol, premiered on HBO earlier this week. Marketed as the series from the “twisted minds of Abel Tesfaye (The Weeknd), and Euphoria’s Sam Levinson,” the series needs no promotion. From casting prominent figures to rumours of costly reshoots and conflicts among the creative team, it appeared as if the showrunners were sparing no effort in generating publicity. With Abel’s legacy as a musician and Euphoria’s success backing up, the Idol comes across as a quick and easy buck. The first two episodes of the television series were screened at the Cannes Film Festival in May, causing quite a stir.

Read More: Watch The Next Teaser To Lily-Rose Depp’s New Series “The Idol”

The creation of The Idol, a fable diving into the dark side of the entertainment industry, originated when Abel approached Sam with the intriguing notion that he could establish a cult if he desired. In an interview with W Magazine, Sam supported Abel’s belief that his fans were incredibly devoted and would follow him without question.

Allegedly modelled from the life of teen pop sensations Britney Spears, Miley Cyrus and other pop stars, Lily-Rose Depp plays the “rags-to-riches, trailers-to-mansions” popstar Jocelyn. The impressionable young star comes across Abel’s character, a sleazy villainous club owner, who takes advantage of her naivety.  The plot not only fails to criticise the industry but also ends up embodying the very aspects it aimed to critique. It romanticises the corruption inherent in the entertainment industry, masking its plotline with glamorous costumes and visually provocative cinematography that often caters to a male perspective.

By now, we aren’t strangers to such provocative series but have we ever stopped to think about how releasing such content affects our overall psyche? According to Youth, Media and Culture in the Arab World written by Marwan M. Kraidy, scholars and policy-makers widely recognise the significant influence of media on the lives of people, especially the young. Media and information technologies play a crucial role in both the consumption and production of youth culture, thereby shaping the overall dynamics of youth lifestyle. In conclusion, this results in the newer generation becoming more and more desensitised. So, how do show-runners stand out with their content? They become reliant on shock value to bring in views. The showrunners of The Idol are following the same strategy by creating visuals as scandalising as possible.

Perhaps the art is lost on us, but is there not a more suitable delivery for subversive social critique? The trouble is, how are we critiquing exploitation whilst engaging in the same act? We know the entertainment industry isn’t innocent and it could have brought an interesting perspective on the dehumanisation of celebrities. So, when they try to portray the show as some sort of cautionary tale, it creates an illusion of pushing boundaries or challenging norms. But is the show truly challenging the underlying power structures or status quo?

Creators have the power to shape narratives, influence perceptions, and impact the thoughts and behaviours of their audience. This awareness of the potential for positive change makes it increasingly difficult to support projects driven by individuals fueled by their own delusions of edginess and empowered by significant financial resources from influential platforms like HBO, especially when the resulting content turns out to be hollow. Despite intentions, such projects inadvertently touch upon the current state of our society and the need for meaningful artistic contributions. As we recognise the transformative potential of storytelling, it becomes essential to advocate for responsible, thought-provoking content that engages audiences in a genuine and impactful manner.

Watch The Idol OSN Showcase and OSN+.