“Euphoria” is a stomach-turning, hectic, maximalist experience: an audacious mess that, if not always pleasurable, is impossible to dismiss or look away from, frynaomifry writes.
The teen drama “Euphoria,” which is now in its second season, airs once a week: a lucky thing, since even a single episode of the series can feel like a binge. The first episode of Season 2 contains one erect penis and two flaccid ones, a drug-dealing grandmother in hot pants, a girl shooting up in a car, a twelve-year-old with face tattoos, some bathroom coitus, a near-overdose on opioids—thwarted by a snort of Adderall—and a baby eating cigarette butts.
Rue’s friends are post-9/11 babies, too, and their everyday reality, in an unnamed Southern California suburb, seems engineered to inject despair into the hearts of any viewers who are foolish enough to still believe that the so-called children are our hope for the future.
Clearly, there’s a lot to work with here. But despite the potential juiciness of these characters, “Euphoria” is not a show to watch for deep dives into its protagonists’ psychologies—counterintuitive for a show where so much circles around addiction and mental health. Rue is supposedly our emotional center, and the show uses her suffering as a vector to telegraph characterological fullness, but these attempts often feel unsatisfying, partly because the show is unable to pick a consistent tone.
Jules, perhaps thanks to Schafer’s consistently strong, sensitive performance, comes closest to embodying depth. In a special episode that came out last year, which consisted largely of Jules’s meeting with a therapist, the show emerged at its most humane, offering intelligent and complex insights into Jules’s doubts and hopes about her femininity and her process of transitioning. .
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