Zendaya, a triple (at least) threat who won an Emmy for her work in season one, is giving an even richer performance this season she’s got so much natural charisma that even when Rue’s eyelids can barely muster the strength to stay open, she still vibrates with an energy that’s impossible to look away from. Rue is in no way a role model and in fact puts herself in increasingly dangerous situations as she experiments with new substances, clashes with her mother (Nika King) and sister (Storm Reid), and tosses gasoline on her burgeoning romance with Jules (Hunter Schaefer). “Unfortunately,” she adds, casually and without apology, “I’m not it.” Our country’s dark and fucked up and people just want to find hope. Now, in all fairness, I did say from the beginning that I had no intention of staying clean.
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“As a beloved character that a lot of people are rooting for, I feel a certain responsibility to make good decisions,” Rue says in a meta fantasy sequence in which she lectures a class on how to get away with being a drug addict. Rue narrates all the episodes and her struggles with drugs - she is on them again, to an extreme degree - remain central to the series.
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After a more than two-year hiatus, aside from two one-off episodes released last year, Euphoria is coming out of quarantine hot, with an abundance of artistic confidence that makes it intoxicating to watch even when its young people are being put through some serious wringers.Īnd while the HBO series feels more than ever like an ensemble piece, it’s still correct to call Zendaya its lead. In some episodes, one might even say there are too many dicks!īut every aspect of this season of Euphoria - the filmmaking, the storytelling, the acting - also brims with a hunger to push harder, go deeper, and uncork more emotion.
As was the case before, there is a lot of nudity, including plenty of the full-frontal male variety. The qualities that immediately distinguished Euphoria from other coming-of-age shows remain present this season, including sequences that co-mingle fantasy with reality, an abundance of needle drops, the occasional musical number, a fixation on dim-to-dark lighting (even the wealthy families on Euphoria apparently lack a substantial lamp budget), and often graphic sexual encounters. (There will be eight total.) He kicks off season two this way, perhaps, to announce two prevailing elements in this run of the dark teen drama: an interest in exploring the parental relationships and childhood patterns that have made the Euphoria characters who they are, and a commitment to going in even more audacious creative directions. As established in its first season, which unspooled on HBO in 2019, Levinson is a filmmaker with a moody vibe all his own, one he leans fully into throughout the seven new episodes provided to critics in advance. Levinson doesn’t spend the entirety of Euphoria’s second season mimicking the style of one of the great American filmmakers, though. The content, pacing, and cutting of the sequence is all pretty Scorsesian, but the casting of Kathrine Narducci from The Irishman (and also The Sopranos) as Fez’s grandmother, along with the soundtrack appearance of Harry Nilsson’s “Jump Into the Fire” - famously used in the GoodFellas helicopter sequence - cements the notion that Sam Levinson, creator, writer, and director of Euphoria, is trying to pull a Marty. There’s Grandma marching into a strip club and shooting a guy in both thighs while his erect penis is exposed Grandma bringing a very young Fezco, her “business partner,” to a handoff of illegal substances and Grandma sharing important life lessons with her grandson while dropping myriad F-bombs. The almost ten-minute flashback that recounts the relationship between drug-dealing Fezco (Angus Cloud) and the gangster grandmother who raised him unfolds in a briskly edited rush of imagery. The first episode of Euphoria season two opens blatantly, unapologetically, like a Martin Scorsese film.
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