Abel Tesfaye—you probably know him better as The Weeknd—has always been a cinematic artist. Even back in the House of Balloons days, his music felt like a dark, hazy noir film. So, when news broke that he was pivoting into television, nobody was actually surprised. We expected grit. We expected style. What we didn't necessarily expect was the absolute firestorm of controversy that followed.
The Weeknd tv shows aren't just a footnote in his career; they represent a massive, risky gamble on his brand as a storyteller. Most people only think of The Idol, that polarizing HBO drama that seemed to dominate every Twitter (X) timeline for a month straight. But Abel's relationship with the small screen goes way deeper than just one lightning rod of a show. He’s been voice acting, writing, and developing projects for years, often leaning into the same "tortured superstar" tropes that made his music global.
Honestly, the transition from pop star to TV creator is rarely smooth. For every Lady Gaga in American Horror Story, there are five musicians whose acting debuts feel like community theater. Abel didn't just want to act, though. He wanted to build worlds. Whether he succeeded is still a topic of heated debate in Hollywood circles.
The Idol and the Chaos of Creative Overhauls
Let's get into the elephant in the room: The Idol.
If you followed the production at all, you know it was a mess. Originally, the show was being directed by Amy Seimetz. She had a specific vision—one that reportedly focused more on the female perspective of the protagonist, Jocelyn, played by Lily-Rose Depp. But then, things shifted. Suddenly, Seimetz was out, and Sam Levinson, the creator of Euphoria, was in.
Reports from Rolling Stone and other outlets described the set as chaotic. The narrative flipped. Instead of a cult-leader-meets-pop-star satire, it became something much more graphic and, frankly, uncomfortable for many viewers. Abel played Tedros, a sleazy, rat-tailed nightclub owner with a messiah complex.
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Critics absolutely shredded it. It currently sits with a dismal score on Rotten Tomatoes. People hated the dialogue. They hated the pacing. But here’s the thing: people watched it. It became a "hate-watch" phenomenon.
- The Weeknd defended the show, claiming the "ick" factor was intentional.
- He wanted Tedros to be a loser, not a suave hero.
- The show was shortened from six episodes to five, leading to a finale that felt rushed and confusing to almost everyone.
Despite the backlash, the music from the show—released as a series of EPs—was actually quite good. "Popular" featuring Madonna and Playboi Carti became a legitimate hit. It’s a classic Weeknd move: even if the visual medium is crumbling, the sonics stay impeccable.
Beyond the Cult: Abel's Animated Adventures
Most fans forget that The Idol wasn't his first time on a TV set. Abel is a massive nerd for animation and sci-fi.
Back in 2020, he co-wrote and starred in an episode of American Dad! titled "A Star is Born." It was surprisingly self-aware. He played a version of himself who secretly stays a virgin because it gives him his songwriting powers. It was funny, weird, and showed a level of humility that The Idol arguably lacked. He even dropped a song specifically for the episode called "I'm a Virgin."
Then there’s The Simpsons. In the 2022 episode "Bart the Cool Kid," he voiced Orion Hughes, a celebrity influencer brand owner. It’s clear Abel uses these guest spots to poke fun at the very industry that made him a billionaire. It’s a different side of him—less "moody dark pop star" and more "guy who grew up watching cartoons in Toronto."
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He also had a brief, blink-and-you’ll-miss-it cameo in the Safdie brothers' film Uncut Gems, which, while not a TV show, signaled his entry into the A24/HBO circle of "prestige" grit. That connection is vital because it explains why he felt comfortable taking the risks he did with his later television work.
What’s Next? The Future of The Weeknd on Screen
Is he done with TV? Not even close.
Abel is currently working on a new feature film directed by Trey Edward Shults, the mind behind Waves and It Comes at Night. This project stars Jenna Ortega and Barry Keoghan. While it’s a movie and not a series, the production style suggests he’s doubling down on the "prestige" aesthetic.
There are also rumblings about more development deals. The Weeknd tv shows of the future will likely look very different from The Idol. He’s learned—publicly and painfully—that having a massive music brand doesn't automatically translate to critical acclaim in the prestige TV world.
The industry reality is that Abel has "Final Cut" energy. He wants total control. In music, that works. In TV, where you have hundreds of crew members and massive network oversight, that level of control can lead to the kind of creative "bottlenecking" we saw with Sam Levinson.
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Why the Critics Got It Wrong (and Right)
The criticism of The Idol often focused on the male gaze. Critics like those at The Hollywood Reporter felt the show became the very thing it was trying to satirize. They weren't wrong. The line between "depicting toxicity" and "being toxic" is paper-thin.
However, looking at the broader scope of The Weeknd’s videography—from the After Hours short films to the Dawn FM visuals—it's clear he views TV as a long-form music video. He prioritizes mood, lighting, and "vibes" over traditional plot structure. This is a common pitfall for musicians-turned-creators. They think in 4-minute bursts, not 60-minute arcs.
Real Insights for Creators and Fans
If you're looking at The Weeknd's foray into television as a roadmap, there are a few things to keep in mind. First, branding is a double-edged sword. His "Starboy" persona made people tune in, but it also made them hold the show to an impossible standard.
- Don't ignore the script for the sake of the aesthetic. The Idol looked beautiful—cinematographer Marcello Rev was doing gods-work—but the writing felt like a first draft.
- Collaborate with people who will say "no." It felt like Abel and Sam Levinson were in an echo chamber. Great TV usually comes from friction, not total agreement.
- Music is the ultimate safety net. Even if his shows fail, his soundtracks will keep him relevant.
The Weeknd remains one of the most interesting figures in pop culture because he refuses to stay in his lane. He’d rather crash the car than never drive it. Whether his next TV project is a masterpiece or another disaster, people will be watching. That, in itself, is a win in the attention economy.
To truly understand his cinematic trajectory, go back and watch his music videos in chronological order before jumping into his TV work. You’ll see the evolution of a man obsessed with the dark side of fame. Start with the "Tell Your Friends" video and end with the After Hours short film. It provides the necessary context for the themes he’s trying—and sometimes failing—to explore in television. Don't expect a standard sitcom; expect a fever dream that doesn't always make sense.