“The Idol” has been the TV season’s spite-watch de rigueur – a mess of untenably dated misogyny, homophobia, angry interpersonal sexual violence and traumatic hair styles, all of it was justified i…
– a mess of untenably dated misogyny, homophobia, angry interpersonal sexual violence and traumatic hair styles, all of it was justified in the service of reminding the world: Never trust a dude with a rat tail.
The template for that dank, dramatic tone provides the Weeknd with some of the best sonic beds of his career, whether they come in ballad or banger form. If he was looking, as he’s stated in interviews, to create a soundtrack to his “Idol” story that borrowed from the grand theatricality of Pink Floyd’s “The Wall” and Prince’s “Purple Rain” while taking himself to the next level, he goes a long way toward accomplishing that mission here.
There is uplifting elegance and a decaying, down-tuned melodicism to the Weeknd’s “Like a God” and “False Idols” . The former talks of a divine overseer’s reign, “making you hurt again, so you can heal and say ‘Amen.’” The latter, as heard during the finale of “The Idol,” reminds us and his other characters to “Be careful with who you call a God, I can’t go without my pole and my rod… Made a hundred million, must be good at my job.
So noirish and haunting are these last two cuts, they’d sound right at home on his 2020 “After Hours” album. Still, little prepares us for the naked defenselessness of “Jealous Guy.” Covering John Lennon’s shivering, most sensitive lyrics to the accompaniment of Dean’s windy, barely-there soundscape is brilliant. Perhaps Tedros is playing a brand of emotional rope-a-dope with the often-put-upon characters of “The Idol,” but the Weeknd is playing for keeps with that poignant, heart-tugging vocal.
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