EUPHORIA

SEASON 2, EPISODE 1: “TRYING TO GET TO HEAVEN BEFORE THEY CLOSE THE DOOR”

EDITOR’S RATING: ★★★☆☆

Viewers should be advised that while “Euphoria” depicts a wide range of teenage lives–it contains content that may not be suitable for all, such as:  graphic depictions of depression and anxiety, sexual violence, nudity, physical violence, gaslighting, suggestive domestic situations and explicit depictions of drug and alcohol abuse. 

Before the release of the two character-centered shorts last year, fans of HBO’s infamously controversial teen drama, “Euphoria,” were practically begging for crumbs of content. Photos spread on Instagram of the cast gathering for a table read weeks before the pandemic forever changed our lives and any chance at hoping to receive anything related to “Euphoria” seemed pointless. 

Now, almost three years after the show’s initial premiere, we return back to the chaos and grittiness of East Highland and begin to pick up where we left off. The two special episodes we received, one centered around Rue (Zendaya) and Jules (Hunter Schafer), might’ve been interesting as exclusive character studies, but offered little to no clarity on season one’s heartbreaking cliffhanger. And with our emergence into the unknowing waters of season two, we’re immediately greeted with “Euphoria’s” staple: the character-cold open, this time taking its first ten minutes to illustrate Fez’s backstory. 

It did surprise me that we entered this season learning about Fez’s upbringing: filled with drugs, violence and the implementation of his brother into his life as a preteen. Rather than starting off the season with the aftermath of Rue’s relapse from season one, “Euphoria” abandons its elemental approach to storytelling. 

Following Fez’s backstory, we’re indulged back into the world of a typical “Euphoria” party. The show’s next fifty minutes follow an intertwining between Rue, new character Elliott, Jules, Kat, Lexi, Cassie, Maddy, and of course the show’s most likable character, Nate (I should clarify that this is sarcasm since to my shocking discovery, some people actually like the show’s most sadistic character.) 

I have to say, although this episode was endlessly entertaining—Cassie’s bit and hiding from Maddy in the bathtub to avoid her finding out about her hookup with Nate were the most interesting to me — it did lack…something. The party setting is already a little overdone for me, and the fact that we had to stick with this setting the entire episode was mildly irritating.  However, things graciously picked up more and more in the episode’s shocking final ten minutes.

“Euphoria’s” highly anticipated return abandons its signatures—fluorescent lighting with dizzying camera angles, glitter everywhere and a bumping soundtrack 24/7 —for an experimental episode that attempts to catch us up on what we missed during a nearly three-year break. Although it never fails to entertain, my hopes for the continuation of the second season, which I’m still absolutely stoked for, is that we establish more of a structure, which was done flawlessly in season one’s episode centered around Kat, “Made You Look.”

EUPHORIA

SEASON 2, EPISODE 2 “OUT OF TOUCH”

EDITOR’S RATING: ★★☆☆☆

The anticipated return of TV’s most controversial teen drama resulted in stark changes between the first and second season. Firstly, there’s little to no glitter marking the faces of our leading ladies. For the most part, we’ve abandoned its once infamous fluorescent lighting, resorting to a grainier and brighter color scheme and the dizzying cinematography has been reduced and utilized only for emphasis on climax. The show’s most notable difference between the first and second seasons combines all that were previously listed; it seems that the writers are attempting to disarm one of “Euphoria’s” main criticisms: the tendency to favor its style over substance.

Instead of nonstop Labrinth playing, nauseatingly amazing cinematography and incessant flashing LED lights, writer and showrunner Sam Levinson has opted for an emphasis on story rather than accessory. 

In the season’s second episode, “Out of Touch,” we’re presented with several storylines: Cal trying to figure out who assaulted Nate, Jules’ estrangement from Rue following her instantaneous friendship with Elliot, Kat’s questioning of her relationship with Ethan, and yet another Nate-centric plot involving Cassie’s rambunctious feelings. 

With all these storylines, it seems like we’re set up for an interesting season, but this week’s episode really gave all pack and no punch. Sure, I was engrossed in “Euphoria’s” structure as I usually am, but as I assessed that each underwritten plot was meant to merely distract us from last week’s potential, it felt like an irritating waiting game. 

Especially since last week’s promotional video for the following episode was so well-orchestrated, I was particularly interested in seeing who Maddy was beating the living daylights out of (the episode never clarifies nor is it even important). Also, what was going on in Kat’s promo where she looked absolutely terrified (the sequence was a hallucination stemming from her anxiety). Even the ending didn’t strike a chord in me—the makeshift “cliffhanger” came off as an inappropriate spot to cut off the conversation between Cal and Nate, which angered me rather than creating any intended suspense.

Following “Out of Touch,” the promotional video for next week couldn’t garner my attention. My hopes for the next episode is that we have more of an established plot with structure and coordination, less of a clumsy last-minute performance orchestrated under pressure, which is what this episode came off as. Regardless, I’ll be tuning in, naively hoping my expectations aren’t broken.

CONTENT WARNING: “Euphoria” includes graphic depictions of depression and anxiety, sexual violence, nudity, physical violence, gaslighting, suggestive domestic situations and explicit depictions of drug and alcohol abuse. 

EUPHORIA

SEASON 2, EPISODE 3 “RUMINATIONS: BIG AND LITTLE BULLYS”

EDITOR’S RATING: ★★★☆☆

Contains spoilers.

Before indulging myself in the latest episode of HBO’s “Euphoria,” I routinely re-watched the promotional video in preparation for what to expect this episode. Beyond the scattered craziness showcased in means of enticement (Cassie truly losing her mind for Nate and Rue’s business venture), I found myself most excited for this week’s cold-open, featuring a young Cal as the frontrunner. But in typical “Euphoria” fashion…I found myself easily let down.

Sure, revisiting the 80s and watching the tension created between Cal and Derek was effortlessly entertaining, but my questions — longing to understand Cal’s cruelty — still persist, which is unfortunate considering this is the most we’ll be seeing of his backstory in “Euphoria” ever. The backstory’s ending was relentlessly abrasive, as if the show baited me in with guilty curiosity and ceased any long overdue development after Cal finds out his girlfriend at the time is pregnant.

My biggest question now resides within the show’s structure this season. It seems as if we’ve checked off every necessary cold-open imaginable, maybe with the exception of Elliot. Last week’s anfractuous mess of an episode leads me to ponder what we’ll have in store down the line. Beyond my discontent with the abrupt ending of this week’s backstory, I was thrilled (almost all throughout!) with the core of this episode.

Lexi taking mainstage this season was something that many fans asked for, and are (slowly) receiving more screen time from her. I was skeptical of her ability to carry her own weight at first. Unlike the rest of the universe, I wasn’t subscribed to the absolute lack of chemistry she had with Fezco in this season’s premiering episode. 

In this episode, I was proved completely wrong. I stared in absolute awe at one of the show’s most self-aware sequences where Lexi stars on the set of her own life! Complete with a YouTube video behind the scenes editing style, her hilarious narrations and members of her life interviewed in a director’s chair makes for one of the show’s most enjoyable and humorous moments this season. 

Perhaps my favorite part was Rue’s return to lecturing. With Elliot in the chair adjacent to her headlining at the projector; teaching us about methodically gaslighting her sister in order to normalize her addiction, I finally felt a sense of…dare I say, euphoric nostalgia; this sequence proudly homaging last season’s segment in which Rue outlines the differences between…well, I won’t go there.

Speaking of Rue: I frankly couldn’t care less about her at this point. Besides the love (?) triangle with Elliot and Jules, her character’s repetition and messiness (yes, I’m aware she’s a drug addict) is getting insufferable. One comment about the Rue-Jules-Elliot situation: their first scene alone together, I very faintly sensed that something could eventually happen between Elliot and Jules, which proves way more intriguing to me than I ever would’ve expected. “Euphoria,” good on you for making a love triangle plot genuinely interesting!

Beyond these two sequences, it seems as if the point of “Euphoria’s” second season is to erase its first. I’m struggling to find any similarities between both seasons as the show prompted to abandon all its infamous trademarks in order to deflect its most gargantuan criticisms. Or…Sam Levinson forgot what made “Euphoria,” well, “Euphoria.” Obnoxious LED lights and fluorescent coloring? Traded for a grainy, traditional A24 type-feel! Labrinth’s nonstop ad-libs and singing? Retro, “Right Down the Line”-reminiscents accompanying our characters. I’m left wondering: is this what’s best for the show? 

Before I see you again next week, I have two ending sentiments. Firstly, out of the many bones I have to pick with “Euphoria’s” wildly hateable Sam Levinson, I would like to ask why we’re getting so little of Kat and Ethan this season. Even the one scene we got in this episode was extremely lackluster, and beyond that, we’re barely even getting any Kat screentime alone. Which segways into my next sentiment: why does it seem that no character is getting enough screen time this season (with the exceptions of Rue and Fez)? Kat? Nothing. Jules? Barely here. Maddy? Crumbs. I need to pinpoint the percentages of who’s occupying the most next episode for scientific reasons. Until then!

CONTENT WARNING: “Euphoria” includes graphic depictions of depression and anxiety, sexual violence, nudity, physical violence, gaslighting, suggestive domestic situations and explicit depictions of drug and alcohol abuse.

EUPHORIA

SEASON 2, EPISODE 4: “YOU CANNOT SEE, THINK OF THOSE WHO CAN”

EDITOR’S RATING: ★☆☆☆☆

CONTENT WARNING: “Euphoria” includes graphic depictions of depression and anxiety, sexual violence, nudity, physical violence, gaslighting, suggestive domestic situations and explicit depictions of drug and alcohol abuse. 

Contains minor spoilers.

Readers, brace for impact as I take one last minute to gather my abundance of unraveling thoughts concerning this week’s ridiculous mess of an episode. Before I present my case, allow me to address the show directly for a second: “Euphoria,” it pains me to rate this episode one star. The TITULAR episode  promised to indulge us into the beauty and chaos of Maddy’s birthday party. But at the mark of the second season, I find myself banging my head against the wall repeatedly asking: why? Why? WHY? 

The problem with this week’s episode isn’t at all that it’s a bottle episode. In fact, conceptually utilizing what a bottle episode entails would’ve made it so much more enjoyable. It seems as though “You Cannot See” is more of a failed attempt at a transgressional mid-season statement than a carefully-crafted force of nature…at least in terms of storytelling. The problem with this week (and every week’s episode) is the infuriating pattern that season two religiously follows: the set-up and the let down.

Arguably, trailers and meticulously-edited promotional videos are as important as the “meat” of a series itself. And this is something Euphoria does perfectly well. These promotional videos posted both on the official Twitter account and on HBO Max are perfect baits for what is alluded to and promised the following week. The videos always make sure to show a little of the bark—but not quite a bite. 

Essentially, what marks the halfway point of “Euphoria’s” second season plays out as a scattered, underwritten…and obnoxiously crass (showrunner Sam Levinson is all about unnecessary nudity) mess reminiscent of a short film by a incompetent twenty-something, fresh off the coattails of film school. 

“You Cannot See” takes place during one night and details the events of Maddy’s birthday party, an estranged conflict between the Elliot-Jules-Rue trio, and a heavily intoxicated Cal inclined on visiting his suppressed past by examining his sexuality. 

In theory, this plot should outline a highly entertaining, and furthermore, trajectorializing episode for the course of this season. However, it did not–the best parts of the episode were so short and incomplete it felt like they weren’t even present. I’m referring to a short conversation between Maddy and Kat in which Kat questions the dynamics of her relationship with Ethan—it almost seems like in season two, Kat’s presence is used as filler content which makes little to no sense, considering her importance in season one.

Alas, I collapse in the wake of another dauntlessly shallow “Euphoria” episode. Is it my fault that I keep subjecting myself to the chaos of this show? Or does “Euphoria” really need to get its things together?

EUPHORIA

SEASON 2, EPISODE 5: “STAND STILL LIKE THE HUMMINGBIRD”

EDITOR’S RATING: ★★★★☆

CONTENT WARNING: “Euphoria” includes graphic depictions of depression and anxiety, sexual violence, nudity, physical violence, gaslighting, suggestive domestic situations and explicit depictions of drug and alcohol abuse. Rated TV-MA, “Euphoria” is not advised for audiences under 17. 

Contains spoilers.

Almost immediately, “Stand Still like the Hummingbird” diverges from the bland structure “Euphoria” grew accustomed to this season. Unaware of her life-or-death situation with Laurie, Rue’s mother proudly brags of flushing the entire suitcase of pills down the toilet, jumpstarting the initial effects of Rue’s withdrawal: complete with rambunctious F-bombs and broken furniture. This differentiates from the show’s usual tactic of holding its horses until the last ten or so minutes of an episode, followed by a pompously ominous ending that always leaves a bitter taste.

This episode, however, gets rid of any structural motifs throughout season two. If you told me a week ago that I would deem an entirely Rue-centered episode the season’s best, I wouldn’t believe you in the slightest. But once again, ‘Euphoria’ shocks me by placing our most overused character in the stickiest of situations, making for an emotional, harrowing and edge-of-your-seat experience.

The first fifteen or so minutes of “Stand Still Like the Hummingbird” plays out like a season finale and then cuts into an incessant police chase. The tension of “Euphoria’s” second season has reached its peak: Rue’s mother knows that she isn’t and hasn’t been clean. Elliot and Jules have now both betrayed Rue in an effort to save her. That’s not all! Maddy is informed by a severely manic Rue that Cassie has slept with Nate. “Euphoria’s” ‘pile-it-all-on’ technique doesn’t compliment well when it’s misused, but the outpour of problems in this episode is so well-executed that even its messiest moments feel astonishingly formulaic.

Although chaos has reached its peak, a valid gripe about “Stand Still” is that none of the characters experience any crucial development. What development does shine through here is the confirmation that just about everyone has had too much of Rue; most notably, her mother and sister grow hopeless at her countless attempts at avoiding help. 

Also, Lexi’s (who need I remind you was once Rue’s best friend, where did that go?) paralyzation doesn’t account to Rue’s mental or physical state. In a sense, it almost seems like Lexi is sidelined only to advocate for her sister’s problems—rather, her presence in an established friendship with Rue would actually have a healthy effect. By abandoning this friendship, Lexi’s selflessness is greatly underutilized when it is obvious she cares about Rue greatly. 

While Lexi, Elliot, and Jules’ reactions to Rue’s behavior this episode are left unclear, Fez doesn’t even attempt to mask his disappointment with Rue after he catches her stealing his bedridden grandmother’s prescription medication.

As if “Stand Still Like the Hummingbird” isn’t shocking enough, Rue seeks a last-resort type of refuge in whom she should be most terrified: Laurie. I do have to say that the flashbacks of Rue’s childhood feel a little out of place in this instance. Am I the only one that thinks Rue artificially uses her father’s death as a crutch to justify her drug addiction? I’ve noticed that the only instances in which she reflects on his passing are to extract herself out of trouble. Regardless, I stick to this episode cementing her as one of this season’s most unlikable characters—shall I remind you what she called Jules?

It should make sense that my priority following the glory of this episode is that this greatness continues throughout the rest of the season. However, I’m not sure how long I’ll be able to hold onto that hope as the trailer for next week so boldly assures us that we’ll be subjected to an hour of the Maddy-Nate-Cassie mess. But seriously: what is it with three-person messes this season? That’s all this really is if we think about it. But hey, as long as the infamously unpromising Sam Levinson can properly structure these last three episodes, I’m not complaining!

EUPHORIA

SEASON 2, EPISODE 6: “A THOUSAND LITTLE TREES OF BLOOD”

EDITOR’S RATING: ★★☆☆☆

Shivering, panting and squealing, Rue, fresh out of the events of episode five, greets us in the initial moments of “A Thousand Little Trees of Blood.” On surface-level, the subdued nature of “A Thousand Little Trees of Blood” is essential, if slightly irritating to “Euphoria’s” progression. Although Rue is now making a substantial effort in recovering from her withdrawal, it’s unclear where her priorities are in doing so. “I’m sure most people would say the world would be a better place without me,” she states. “I don’t disagree.” 

Would it be fair to say that her victim complex prevents her from getting the much needed help she longs for (and knows she needs?) Regretful from her harsh comments towards Ali, who acts as Rue’s NA sponsor, almost three episodes ago, she calls him to apologize. Watching this scene was very telling of what we already know about her character. It seemed as if she was quite literally forcing the apology out of herself; scrambling for the words and hesitating at atonement. 

Even so, Ali almost instantly forgives her. Instead of giving her a second chance, this forgiveness only enforces Rue’s toxic behavior. Labrinth’s “All For Us” played for the first time since Rue’s relapse in season one. Could this be signaling something?

Beyond these first ten minutes, Rue’s absence throughout “A Thousand Little Trees of Blood” is necessary, as the show’s shift in focus only widens its plot. My problem with this week’s episode is that Rue is only sidelined for the weakest plot to take the main stage. Yes…I’m talking about the Maddy-Nate-Cassie mess.

With Maddy pondering ways to get back at them both, Lexi (I still always somehow forget Lexi and Cassie are sisters) and her mother fed up with Cassie’s obsession, and Nate’s rebrand following Cal’s departure—this plot only even begins to boil in the episode’s last fifteen minutes.

Somewhere in the mix, Kat and Ethan’s fight for screen time continues — this time it was to break them up! Is this to finally advance Kat’s plot, or did Sam Levinson do this to finally cut ties with Barbie Ferreira and her character? My guess is the latter, and if I do say so myself, what an utter shame.

 Meanwhile, Nate’s mother seems freed from all of the confinement she experienced while in her relationship with Cal. Beyond the Jacobs’ family’s sudden change in dynamic is something way more interesting, and calls  back to season one: remember when Nate attacked Maddy at the carnival? Remember when he was so desperately trying to convince both the school and his parents that he didn’t do it? In this scene, Ms. Jacobs not only admits she always knew he did attack her, but commends him for it. If you needed confirmation that the Jacobs family is messed up on all sides of the spectrum, here it is. 

Who doesn’t have it so cute right now is none other than Madeline Perez. The pinnacle of this week’s episode occurs in the last fifteen minutes; Maddy does not mess around when it comes to Nate because she knows exactly how his mind works. “Nate, I love you,” she immediately professes as he threatens her. “I love you, Nate.” 

I also noticed that her muffled cries only strengthened and loudened once put himself in harm’s way. This leads me to the most interesting part of this episode: could it be that Maddy still cares about Nate? And vice versa? If you recall earlier in the episode, Rue specifies that it wasn’t the abundance of missed calls from Cassie that worried Nate…but rather the lack of them from Maddy. The scene ends with Maddy sacrificing the tape and neither of the two harmed. I’d like to disarm my selfishness of expecting “something big” with this ending epiphany… 

Next we move onto Fez and Lexi, and I reluctantly confess that their scenes together irritated me way less than they did before. As I said previously, it seemed their abrupt pairing was only constructed in means of distraction — yet, “A Thousand Little Trees” allows them to shine through. I do hope their relationship stays platonic, as their friendship (so far) is really unique and not seen in most television shows; either two people are together as a couple or not together at all. We don’t spend enough time showcasing valuable friendships, and this was such a cute moment!

Is it safe to say that “Euphoria” is at its most interesting when we analyze what’s given to us? Or is Levinson’s surface-level style rejecting anything beyond face value? Let me sit on these questions throughout the remainder of this week and revisit them in the next episode. 

Are you guys excited for Lexi’s play?

EUPHORIA

SEASON 2, EPISODE 7 “THE THEATER AND ITS DOUBLE”

EDITOR’S RATING: ★★☆☆☆

With two episodes left of season two, it feels like the idea of “The Theater and Its Double,” which promised a cultivating climax to an otherwise underwhelming season, is what we, the audience, deserve. Ideally, Lexi (Maude Apatow) was to take center stage with the premiere of her highly-anticipated autobiographical play—stirring up tension with her response to being sidelined amongst others like Cassie and Rue throughout her life. What sadly ensues from the premiere of “Our Life” is an abomination of nothingness.

Essentially, the problem with “The Theater and Its Double” is that it has absolutely nothing to do with Lexi’s play in the slightest, but rather the events in real time that “Our Life” is portraying. Look at episode seven like the ice cream Lexi drops in a flashback:  a disassembled, droopy concoction intended to be sweet and refreshing. 

Really, the highlights of this episode are things so subtly miniscule that they may be missed without proper acknowledgement—Rue’s surprisingly pleasant reactions as the darkest parts of her life are portrayed on stage, or Maddy’s reminiscing with the initial moments of her friendship with Cassie. Sure, Nate and Cassie’s contrasting reactions sustain progressive character development, but should we, as viewers, choose satisfaction over what makes realistic sense?

Nate’s anger with “Our Life” resides within his fragile masculinity being put to the test with a boldly executed and over-the-top dance number in which an abundance of jocks dance in salacious choreography to Bonnie Tyler’s “Holding Out for a Hero.”  Nate’s reaction to “Our Life” contrasts with Cassie’s bathroom breakdown twenty minutes earlier, highlighting  the problems with their weak relationship, which is ended by Nate in the final fleeting moments of the episode. 

When Cassie exits the theater in response to her parodic portrayal, Nate doesn’t even flinch. But when Nate starts reacting to “Our Life”? Cassie attempts to calm him by placing a hand over his clenching fists and immediately follows him out of the theater when “Holding Out for a Hero” becomes too much for him to handle. 

This underwhelming episode excruciatingly ends with a lazy “to be continued:” right before Cassie re-enters the theater to make a scene after having the last straw. Cassie’s response to Nate’s reaction has nothing to do with her—her impromptu hunger for revenge is only prompted by Nate ending their relationship in a bliss of anger with his portrayal. 

Watching next week’s promo was surreal in the worst way; this fifty-second teasing accomplishes absolutely nothing and feels like it showcases a mid-season markpoint rather than a season finale. 

Is “Euphoria” camouflaging its most exhilarating moments in preparation for a sublime season finale? Or will I have to do this now overly exhausted dance of disappointment next week as well?

EUPHORIA

SEASON 2, EPISODE 8 “ALL MY LIFE, MY HEART HAS YEARNED FOR SOMETHING I CANNOT NAME”

EDITOR’S RATING: ★☆☆☆☆

Contains major spoilers.

What is it about “Euphoria” that keeps me coming back every week? It’s not the stunning cinematography (they dropped most of that this season), its trademark ambience and fluorescent environment (that’s gone too), or its well-crafted plots (season two struggles with consistency throughout). Perhaps every loosely unresolved ending, which is both stylistically and structurally aggravating, leaves me longing for closure. 

“Euphoria” can’t even remain structurally adequate after setting up an eye roll-worthy ‘to be continued’ cliffhanger last episode. It seems like every risk “Euphoria” takes this season incontinently backfires in its face. The beginning of “All My Life, My Heart Has Yearned For Something I Cannot Name” doesn’t even acknowledge last week’s plot and had me asking myself,  “are we trying out nonlinear storytelling?” 

This cluttered approach could be applaudable if it was done right, but it can’t help but come across as if even the writers are done with this season. This is “Euphoria,” not “Twin Peaks.”

Beyond its first couple minutes of confusion, it’s clear that we’re reliving the events of Lexi’s opening night in Fez’s point of view as he readies himself for “Our Life.” This led me to think “we’ve already seen this before!” What we’re witnessing at the beginning of episode eight is simply an extended version of what we didn’t get to see last episode. At this point, it’s clear that episode eight is nothing more than a direct continuation of episode seven; I was extremely disappointed in the wake of this revelation. 

Again, this may have worked if episode seven was interesting enough to stand on its own, but with a show that relentlessly suffers with pacing and plot, why did stretching out an already irrelevant plot  seem like a good idea to those in the “Euphoria” writing room?

Firstly, I take my previous praise all back—I was not at all on board with Fez and Lexi this episode. Their stunted conversations were blurring such an odd line between being friends or more. Either their fleeting development before Cassie takes the lead suffers from bad writing, or these two are really incompatible!

Speaking of Cassie, we are undoubtedly subjected to her absolute breakdown teased by last week’s cliffhanger; she stands proudly on East Highland’s stage, rips “Our Life” to shreds, and attempts to gain approval and praise from the audience members. Instead, she’s left with a whole bunch of awkward silence until Maddy begins directly responding to an audience member questioning why the character based on Cassie is so awful. Soon enough, an explosive fight ensues where Maddy finally unleashes on Cassie, resulting from a season-long internal struggle. This had to be the sliver of satisfaction that the episode offers — this edge-of-your-seat setup was, dare I say, well-crafted? 

It may be rare that I praise “Euphoria” this season, but this culmination offered substantial hope that was later crushed by the remainder of the episode.

From this point on, it seems that Ashtray is only digging his, Fez, and Faye’s graves more and more as he unnecessarily pounces on (and kills) Culter; which escalates to a deadly encounter with the police, eventually costing him his own life. Whatever emotions I was supposed to feel during this “plot twist,” if we can even call it that, were not felt in the slightest. Ashtray’s abrupt and messily executed death felt so out of place that it throws off the steady climax the first thirty minutes of the episode tried to establish.

Javon Walton (who plays Ashtray) coincidentally shared that Fez was meant to die instead of Ashtray and that the death was changed last-minute, which only cements my belief that everything “Euphoria’s” second season had to offer was a weak, last-minute attempt that abandoned anything consistent with its debut season.

What bothers me the most is that the show conveniently forgets to address Rue’s colossal debt to Laurie after the events of “Stand Still Like The Hummingbird,” and instead decides to devote four minutes of precious screen time to an unbearable song Elliot sings to Rue. “I think you might’ve accidentally saved my life,” Rue tells Elliot. If we’re touching on the idea that Rue made a considerable amount of progress, why is the “closure” we receive so lackluster? 

What’s most heartbreaking about “All My Life, My Heart Has Yearned For Something I Cannot Name” isn’t the sudden death of one of the show’s most beloved characters, it’s the absolute lack of closure that disarms the grueling journey viewers went through this season. Even the attempt to end the season on a bittersweet note—Rue kisses Jules on the forehead and exits the theater, which subduedly confirms she’s finally moved on—falls so underwhelmingly flat and showcases that “Euphoria” is out of things to offer.

Nonetheless, it’s no surprise to me that “Euphoria” has been renewed for a third season said to premiere two years from now. Will its rapid popularity increase only push it farther down the rabbit hole? Or will Sam Levinson’s plans for the third season get “Euphoria” back on track?

As Maddy says in season two’s final minutes, “this is only the beginning.”