HBO's The Idol: The Behind the Scenes Drama of Making the Show

The Behind-The-Scenes Drama of Making HBO's The Idol

Welcome to MsMojo, and today we’re discussing the behind-the-scenes drama of making HBO’s “The Idol.”

For this list, we’ll be looking at controversies and shake-ups that have made “The Idol” one of modern television’s most troubled productions.

Are you going to watch “The Idol?” Let us know in the comments.

It’s not uncommon for a TV show to completely change its premise. “Baywatch Nights” turned into “X-Files on the Beach,” “Family Matters” became “The Urkel Half-Hour Feat. The Winslows,” and “Together We Stand” killed off Elliott Gould, changing its title to “Nothing Is Easy.” However, those shows all aired several episodes before getting retooled. Prior to even hitting the screen, HBO’s “The Idol” did a 180 more than halfway through Season 1’s production. At its core, this drama series has always been about a struggling pop star who becomes involved with a self-help guru/cult leader. The creative figures involved had two very different visions for this setup, however. Thus ensued a messy saga of firings, reshoots, and millions of dollars squandered.

First announced in June 2021, “The Idol” was the brainchild of “Euphoria” creator Sam Levinson, former nightlight entrepreneur Reza Fahim, and the artist formerly known as the Weeknd, Abel Tesfaye. The latter would also star as the aforementioned guru with Lily-Rose Depp signing on to play the titular idol. In addition to executive producing, Amy Seimetz was enlisted to direct every episode. Seimetz appeared in TV shows like “The Killing” and “Stranger Things,” as well as movies like 2019’s “Pet Sematary.” Her directing credits include small films such as “Sun Don’t Shine” and episodes of shows like “The Girlfriend Experience,” which she co-created. “The Idol” seemed to be her most ambitious endeavor yet. As the titular idol finds, though, showbiz is full of highs and lows.

News broke in April 2022 that Seimetz would leave over creative differences.
The cast and crew were also drastically shaken up. It was suspected that up-and-coming actors Steve Zissis and Juliebeth Gonzalez would be dropped from the main ensemble. Over the following months, Dan Levy, Hank Azaria, and several other big names were added. Showrunner Joseph Epstein remained attached along with the two leads, although Depp would dye her hair blonde for reshoots. A lot of shows undergo major retoolings during development. Sometimes it’s at the scripting stages. Other times, it’s after the pilot is shot. What stands out about “The Idol’s” overhaul is how deep the series was already in production. Seimetz had reportedly shot 80% of the six-episode series upon leaving.

When a troubled project is that far along, there are three options: 1) limp to the finish line and hope for the best, 2) cease production and write it off for a tax break, or 3) start from scratch. Studios generally avoid the third choice given the time and money already invested. Even when a director is let go and extensive reshoots are called for, scrapping 80% of a $54-75 million project is rare. For reference, Richard Donner shot about 75% of “Superman II” when he was replaced with Richard Lester. Although Lester reshot much of that film, traces of Donner’s contributions can still be found. For “The Idol,” the practically finished season would be entirely reshot and rewritten, erasing Seimetz’s presence.

HBO released a statement saying that the show wasn’t living up to their standards. After seeing Seimetz’s rough cut, Tesfaye wanted to take the show in a different direction, putting less emphasis on the cult aspect. The singer-turned-actor also reportedly felt the series was leaning too much into a “female perspective.” In other words, Lily-Rose Depp’s character was getting more attention than his. Crew members argued that it was hard to give Tesfaye the spotlight due to his other commitments. They tried to work around Tesfaye’s schedule, which made it all the more frustrating when he rejected Seimetz’s work. Some thought that Tesfaye wanted a show that was all about the Weeknd, which sounded good to Levinson.

Since he was busy finishing “Euphoria” Season 2, Levinson hadn’t dedicated much time to “The Idol’s” production. “The Idol” was put on hold until Levinson was ready to provide his full attention. Due to this lengthy delay, many cast and crew members would be replaced. Levinson assumed directorial and writing duties, reshaping “The Idol” to share more in common with “Euphoria.” According to cast and crew members, this entailed more “disturbing sexual content and nudity.” Some would even go as far as to call it more graphic than “Euphoria,” which is saying a lot. While HBO seemed to be on board with these changes, certain crew members felt that it wasn’t the show that they signed up for. If anything, it was the exact opposite.

An anonymous production member told Rolling Stone that the series was originally supposed to be “a dark satire of fame.” The show would’ve explored what stars are put through and the manipulative nature of the entertainment world. In the production member’s words, “It went from satire to the thing it was satirizing.” Depp’s character was intended to be a victim who reclaims power from the person taking advantage of her. According to another production member, Levinson’s revamp turned it into a toxic romance with Depp’s character continually coming back to the man who mistreats her for the sake of her music. The crew also suggested that Seimetz was “set up to fail” with incomplete scripts, a strict deadline, and Epstein having little showrunning experience.

In addition to directing, Seimetz was reportedly expected to revise scripts and write the finale. HBO allegedly had unrealistically high expectations, wanting Seimetz to turn in a show that matched “Euphoria’s” production values with nearly half the budget. Although Seimetz was encouraged to leave her own mark, it seemed like HBO really desired an even edgier “Euphoria.” So naturally, Levinson took the helm. For all the accolades that “Euphoria” has received, its sexualized depiction of teens has made Levinson a controversial figure. While some have taken issue with Levinson’s new direction on “The Idol,” others have complimented him. Depp praised Levinson as “the best director” she’s worked with, feeling supported and respected. Another crew member appreciated that Levinson was so “approachable” in discussing his vision.

Levinson got points for resourcefulness as well. Since the whole season was reshot, Levinson had to save money, especially after the first production ate up $54-75 million. Taking a look around Tesfaye’s $70 million, 40,000-square-foot Bel-Air pad, Levinson suggested that they shoot there. Tesfaye agreed, moving somewhere else to “stay in character.” Levinson cut more corners by shooting Tesfaye and Depp at a live concert with about 70,000 free extras. The production still ran long overschedule with one crew member claiming they only got two hours of sleep. Matters became unpredictable and chaotic with the scripts constantly changing, leaving some wanting to never work with Levinson again. They didn’t see the project as a collaboration with Levinson possessing most of the control.

All the while, the crew felt the show was moving too far from its original theme, losing its “female perspective” with Seimetz. Responding to the controversy, Tesfaye tagged Rolling Stone in a tweet with a scene throwing shade at the outlet. Tesfaye elaborated in a W interview, “I don’t release my music until I think it is great. Why would this be any different?” “The Idol” is set to premiere at the Cannes Film Festival before making its HBO debut. Time will only tell if the drawn-out production, ballooning budget, and creative clashes will pay off for the network. Maybe Levinson and Tesfaye’s vision for the project will come together, going down as the next “Euphoria.” If not, expect to see #ReleaseTheSeimetzCut down the line.