July 11, 2023

In the finale of  “The Idol,” one of the most talked about shows of the year, Eli Roth’s Andrew Finkelstein, who is a Live Nation exec, turns to Hank Azaria, who plays Chaim, an Israeli manager of superstar Jocelyn (Lily-Rose Depp) and says “tov meod” or “very good” in Hebrew.

While there were some good moments and good performances, poor writing harmed a show that had the building blocks of potential greatness.

Jocelyn is a hot recording artist whose last tour was cancelled when she had a nervous breakdown, is still grappling with the death of her physically abusive mother.

In the opening scene, a borderline pornographic picture is posted online and Chaim says he will shoot whoever is responsible.

At the same time, during a photoshoot, an intimacy coordinator — a person whose job is to make sure the actors feel comfortable and heard during nude/sex scenes — informs Jocelyn’s reps that the photos are too revealing and not in accordance with the rider.  Chaim, after Jocelyn demands the coordinator leave the set, locks him in the bathroom. (Depp has stated she was cool with her nude scenes and she had agency.)

The show centers around Jocelyn’s efforts to make it to a successful tour including a show at Sofi Stadium, if she isn’t derailed by a chaotic relationship with Tedros (Abel Tesfaye, aka The Weeknd, who also co-created the series) who is manipulative and has a troubling past.

The Good:

Azaria brings some humor to the show and his acting chops are so fierce that we can believe him in any situation and any character.

Roth (a great director who famously played Donny “The Bear Jew” Donowitz is “Inglourious Basterds” brings high energy to the show and while his role is small, he is on point as well. Another Jewish actor, Troye Sivan, is excellent as Xander, a creative director who claims he doesn’t sing anymore due to vocal problems although Tedros hears him sing and tells him he should.

Sennott, who is not Jewish but expertly played the Jewish lead in “Shiva Baby” is likewise impressive as Leia, someone who knows Tedros is messed up and tries to fight his power grab. But she is momentarily distracted by her lust, for Izaak, played by Moses Sumney, who excels in his role as a muscle-bound man who is also a gifted singer. Da’Vine Joy Randolph also provides a charming performance as Chaim’s partner in managing Jocelyn.

Depp brings some great intensity, and her acting is decent when the writing makes sense. Her singing voice is pleasant. Hari Nef, who is Jewish, does well as Vanity Fair reporter Talia Hirsch, who seems sympathetic to Jocelyn, but may be duping her for details.

The cinematography is well done as we see the fashion and glamour of Los Angeles.

The Bad:

The Weeknd, is a gifted singer who had a small role in “Uncut Gems,” created the show with Sam Levinson (“Euphoria”) and Reza Fahim, but his acting is not yet at the level where he could give a credible performance in this specific role. A scene where he is supposed to be tough and threatening a guy at a clothing store on Rodeo Drive is laughable. And it’s not supposed to be.

Intimate scenes should be done tastefully and in a fashion that enhances the story. While a few are, the majority are not and it hurts the show.

Much of the writing is intended to shock the audience rather than make any sense. That’s a shame. A 10-episode show that gave characters time to breathe as tension grew would make sense. Instead, there are five episodes (with one reportedly cut) Jocelyn and Tedros are together too fast. There is simply no way to buy she would fall for a guy with a rat tail who dances terribly.

As horribly written as it was, a twist at the end of the fourth episode deserved an episode to see ramifications. Instead, it’s dealt with as a momentary afterthought.

We are to understand that Tedros can perform a sexual act on Jocelyn in front of many other people in a recording studio, to get her to sing a lyric in a genuine orgasmic tone, as Destiny, who is supposed to protect her, stands and does nothing? I don’t think so.

How does Tedros snag a gorgeous pop star?

“You’re dangerous,” he says to her.

Yep, that’s the line no woman can resist!

Of course, this is supposed to be an adult soap opera, and that could be cool. But with the co-lead not believable in any scene, it sends this train off the rails as soon as it leaves the station.

Sennott is super talented, and in the scenes she shared with The Weeknd, she managed to elevate his game somewhat.

The writers set up possibility of a feud between the two characters, but that isn’t explored enough.

We are supposed to believe that Jocelyn’s career is worth mega-millions but her handlers don’t do any background checks until Tedros is embedded in Jocelyn’s life. Oh my, he assaulted his ex and went to jail for a few years. Let’s sit on our hands and see how this plays out. Again, we are in bizarro-land. We need more genuine conflict. K-Pop star Jennie Kim, who plays Dianne, is set up as a potential threat and rival to Jocelyn if she falls. But that subplot also goes nowhere.

A key decision Jocelyn makes in the final episode is simply not plausible given what a character has done.

The Idol

We know sex sells. It’s literally a line in the show, as if we needed to hear it.

If the point is that people bow down to the idol of sexual desire, we know that already as well.

We are supposed to believe that Teodros is super controlling but he lets Jocelyn’s ex come up, be alone wither and lock the door. This doesn’t make any sense.

Prince is mentioned in the show. The Weeknd may see himself as a modern-day version of the icon, who surprised people with a decent performance in the film, “Purple Rain.” The Weeknd obviously has charisma but should have taken some acting classes in preparation for the role.

Let The Music Play

The process of making a record and the pressures on musicians to deliver a hit are explored sufficiently until the fifth episode, when a a kitchen sink of performances is thrown at you.

The show is worth watching for some of Depp’s performance, as well as those of Azaria, Sennott, Roth, and others. But The Weeknd is so miscast, and the scenes aimed at turning you on will likely turn you off.

The sad thing is we are at a point where showrunners may prefer a show that is controversial than one that is written well.

The premise of the show is not the problem; the writing and execution are. A 10-episode series that didn’t feel the need for shock value at every turn, (including a scene where a character is  literally shocked as punishment)  that gave its characters time to have an impact and had a different co-lead could have been a stunner. I’m sure Depp will have other roles and may even have a career in music as well. I wouldn’t write The Weeknd off either, as it may be this specific role was out of his league, but other ones might not be.

It’s important to realize the show is about flawed characters, but the writing needed to be better and when you are introducing so many characters, you need more than five episodes.

You’re only as strong as your weakest ingredient.

Even if you’re not a foodie, you’ll taste no flaws in “The Bear.” The FX production, streaming on Hulu, is  the second-best TV show of the year, bested only by “Succession.”

The driving force is the outrageously good performance of Jeremy Allen White, who stars as Carmen, known as “Carmy.” The former “Shameless” star plays a man who takes  over The Original Beef of Chicagoland, a failing restaurant owned by his brother, who committed suicide. In the second season, Carmy wants to create a fine dining restaurant in Chicago. One second, he is kind, the next he is exploding in anger and depressed.

White has some Brando-esque machismo, charm and muscles. But in the first season he had no love interest. Enter Molly Gordon who was excellent as one of the few people who told the truth in the film “Shiva Baby,” as Claire. With her angelic face, and delivering her dialogue in a near whisper, she is almost too good to be true. When Claire and Carmy lock lips, it’s the best TV kiss of the year. And Claire also has the best line of the whole show. When Carmy is afraid to become involved with her, she realizes he is afraid the other shoes will drop.

“Want to know a secret?” she asks. “Nobody’s keeping track of shoes.”

It’s a saucy line in the eighth episode, aptly titled “Bolognese.” Even without much screen time, Gordon shows the makings of a superstar. Her chemistry with White is mesmerizing. It’s impossible not to love either character. But while Carmy and Claire hit it off, will Carmy self-sabotage as he often does or make it work?

Ebon Moss-Bachrach, who can currently be seen opposite Jennifer Lawrence in “No Hard Feelings,” is Ritchie, his brother’s best friend and the manager of  The Original Beef of Chicagoland.  He’s jealous of Carmy and thinks he’s been sent to clean forks in another restaurant as a punishment. Bachrach nails the role as an everyman who is quick tempered, uses humor to distract from low self-esteem and wants to take care of his daughter, even as his wife is no longer with him and has moved on. Getting a ton of screen time, Bachrach knows how to take the hearts of the audience in his hand.

Ayo Edebiri is a revelation as Sydney, a young woman who is a trained young chef and perhaps hopes it gets hot in the kitchen with her and Carmy. Edebiri doesn’t strike a single false note, even when she throws up in front of her father.

Oliver Platt stars as Uncle Jimmy, who is a major investor in the restaurant, tells a story about Steve Bartman, the young fan whoreached into the field to grab a foul ball that many thought left fielder Moises Alou could have caught. The Cubs, who were aheard 3-0 in the game, wound up losing.

Jamie Lee Curtis plays Carmy’s chain smoking and verbally abusive mother, who may have a personality disorder. She loves her son, but she is quite crazy, screaming and being mean for no reason. Her scenes on the show are painfully chaotic.

Creator Christopher Storer, who writes or directs the majority of the episodes, is an absolute genius. That a scene about whether or not the restaurant passes a fire suppression inspection had me on the edge of my seat exemplifies the quality of the writing.

The food is also beautifully shot and the stress of making mistakes or wrong decisions is palpable.

We see that working in a kitchen isn’t easy and it can drive people to depression or drugs. Carmy, who is affectionately referred to as ‘The Bear” or “Bear” is a man on a mission. As for this show, it’s a mission accomplished because it fuses the tensions of the kitchen, the beauty of the food and the things that make these interesting characters tick or get annoyed.

I also learned something new: you can put sour and onion potato chips on an omelet. You won’t find another series that can at one moment be extremely relaxing, and the next, wholeheartedly unnerving. I nearly got verklempt watching a character waiting to see if her mashed potatoes were good enough.

“The Bear” is a tasty treat of a show that you will love and tell your friends about. Once you’ve had seconds, you’ll want thirds.