Since that ruinous day, Rue has been on an apology tour. With those two out of sight, the camera finds Rue, Jules and Elliot (Dominic Fike), whose relationships haven’t been salvaged since Rue’s punishing intervention episode. The thwack sets off more chaos, before the two move their fight out of the theater and into the cotton-candy-pink-tiled bathroom. Maddy (Alexa Demie), visibly perturbed by Cassie’s antics and still reeling from a betrayal that was one of the season’s dramatic focal points, jumps on stage and slaps her friend across the face. Is it? Euphoria giddily side-steps the question and frolics in the gray area between reality and fantasy. One person wonders aloud if this moment is part of the play. Theatergoers let out audible gasps and jeers. Their mother (Alanna Ubach) tries to pull her off stage.īut no amount of cajoling or begging can quell Cassie’s volcanic fury. “That’s why you’re able to stand up here and judge all of us,” Cassie screeches at Lexi. She embodies Cassie’s rage in a monologue that (yes, you guessed it) doubles as commentary on engaging with life versus merely observing it. Sweeney, who’s delivered a winning performance this season despite the camera’s discomfiting attention to her body, transforms on the (fictional) stage. Herein marks the beginning of the lovesick blonde’s origin story, and the end of viewers’ certainty as to what’s “real” and what isn’t. Her sister Cassie (Sydney Sweeney) barges into the theater after Nate breaks up with her and interrupts the production. ![]() The heavy-handed injection of Levinson’s zeitgeist-geared commentary - in this case, the way social media strips relationships of mystery - is ultimately balanced out by composer Labrinth’s smooth and sweeping score.Įlsewhere - both temporally and physically - Lexi is facing the ramifications of her play’s revelatory first act. Their roving conversations (they fantasize about the future, discuss Little House on the Prairie and weigh the ethics of Lexi’s upcoming play) vibrate with the youthful energy of courtship. Levinson uses the first of several time jumps here, transporting viewers to a golden-hued recent past, in which Lexi and Fez spend hours on the phone with each other. In the days, weeks, months - it’s not clear, and it also doesn’t matter, really - before, his relationship with Lexi (Maude Apatow) deepened. With the police outside his door, his future, already uncertain, holds even fewer promises.įez hovers over his kitchen sink - his suit bloodied, his body tense - and relives memories leading up to this moment. But although Faye doesn’t betray Fez, the tense exchange now turns fatal, leaving Fez to face the tragic consequences of his actions. In last week’s installment, Custer tried to conscript his girlfriend Faye (Chloe Cherry) in his plan to set up Fez. The episode picks up with Fezco (Angus Cloud), who finds himself in a prickly situation with ally-turned-mole Custer (Tyler Chase). ![]() Episode eight, the title of which (“All My Life, My Heart Has Yearned for a Thing I Cannot Name”) is a quote from André Breton, the 20th century French poet and a founder of surrealism, was a heady assemblage of meta-commentary and plot twists that swerved and careened to a confusing, but optimistic finish. It’s fitting, then, that the season two finale felt fully subsumed in Levinson’s obsessions, signalling Euphoria’s surrealist future. ![]() 'The Idol' Stars Defend Controversial Show: "We Always Knew We Were Going to Make Something Provocative" But Levinson, who writes and directs each episode, has always seemed more interested in usurping narrative conventions, needling his characters’ psyches and dissolving the boundaries between real and unreal. There were other storylines - some of which (Barbie Ferreira’s criminally underwritten Kat and her identity crisis, for example) were more compelling than others ( anything having to do with Jacob Elordi’s Nate). The show, which premiered on HBO in 2019, began as a study of protagonist Rue ( Zendaya), her drug addiction and her burgeoning relationship with her best friend Jules ( Hunter Schafer). Plotlines are picked up and quickly abandoned without so much as a second thought, and the music, lighting and narrative structures are less about realistically portraying teenage life than they are about capturing the frenetic moods of adolescence. Every Sunday, Sam Levinson’s feverish teen drama draws in millions of viewers ready to submit to the rules of its wonky reality. For better or worse, Euphoriais an event.
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