![]() ![]() Realistic and raw portrayal: Euphoria is known for its realistic and raw portrayal of teenage life, which can be both gritty and emotional.I’m just not here for the poet explaining why I need to be.READ MORE – Kendall Jenner and Devin Booker’s Relationship TimelineĪpart from this, There are several factors that make the show fascinating and compelling to viewers. ![]() I’m here for an hour-long episode of two people talking about everything in a diner I’m here for its poetry. I love Euphoria because of its courage, despite its characters’ deep vulnerabilities. But it did so with no abandon, with utter confidence in itself, without feeling the need to ask for permission or forgiveness. This ain’t the first time Euphoria has gone a bit meta the Season 1 finale ends with an out-and-out music video, while Rue/Zendaya often sang and danced directly to us. But even though Domingo is inserting himself within the text as immersively as possible, Levinson’s line can’t help but feel frozen in visible authorial quotes. Yes, it makes sense to an extent for Ali to tell Rue this at this time, and yes Domingo sells the line as excellently as he can. It feels like Levinson patting himself on the back, telling himself it’s okay to write something so explicitly interested in just thinking about ideas, without a ton of narrative momentum or action, and subsequently telling us that we need to be on board and believe in it. But it cannot help but play like a justification for this episode’s structure, which is quite literally two people sitting in a diner on Christmas Eve, talking about life, addiction, and loss. God, I want to be all-in on this line, this sentiment, this poetry. The value of two people sitting in a diner on Christmas Eve, talking about life. ![]() Right? That’s what I was talking about earlier. "Thinking about those questions, those ideas, they’re a large part of what makes this life worth living. Just as you and your friends might conversate about any and everything on your mind during a late-night diner chat (god, remember late-night diner chats?), Ali guides his and Rue’s conversation through an eclectic litany of loaded topics, including the commodification of Black Lives Matter, the trickiness of fraught family dynamics, and the flawed limitations within our generation’s usage of “cancel culture” (this moment, by some small miracle, becoming one of the only compelling pop culture arguments I’ve ever seen that our usage of “cancel culture” might actually be flawed probably because Levinson and Domingo approach it with honest empathy rather than self-victimizing finger-wagging). Yes, show creator/writer/director Sam Levinson’s script zeroes in on the seemingly bottomless pit of Rue’s addiction, despair, mental health struggles, and suicidal ideation, and these passages sing with focus, authenticity, genuine pain, and some of the best acting you’ll see on television this year.īut Levinson’s vision here isn’t just one of depth it’s also of width. For a little under an hour, the two characters simply sit at this diner table and talk to each other, with just a Jules-featuring overture, a phone call-featuring intermission, and an "Ave Maria"-featuring curtain call to break up this action and highlight the inherent theatricality of the piece. ![]()
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