![]() ![]() Yet Levinson decides to have her character morph into an awful, self–centered person, someone who I can’t understand why anyone would root for. Why would Cassie ever be with Nate in the first place after seeing the abuse Maddy received for years with him? Cassie ended season one as someone who had the potential to develop on her own, without a controlling boyfriend. Cassie’s in her low point in the series (at least I hope), which Levinson makes abundantly obvious, but she ends the season with no growth. ![]() From there, Cassie’s off to the races, being hopelessly devoted to Nate, cutting off her friends, being a spoiled brat to her family, and making a complete scene at Lexi’s play, leaving the season with no boyfriend or friends. ![]() There’s also countless flaws in Levinson’s script-like Rue’s missing consequences for not paying back her drug dealer Laurie, or Kat’s complete absence-but one of its major issues this season has to be Cassie Howard, played by Sydney Sweeney.Īfter breaking up with her boyfriend McKay and feeling single and free for the first time in high school at the end of season one, Cassie pulls a complete 180 in season two and winds up hooking up with the vile Nate Jacobs, her closest friend Maddy’s on–and–off boyfriend. Music can powerfully convey characters’ emotions, but using music and dancing so extensively makes the show lose its gravitas. For example, episode four (‘You Who Cannot See, Think of Those Who Can’) contains four separate dance sequences and 24 songs. Levinson also seems a little too dependent on his music score. Sequences like Jules and Rue’s “Lover’s Montage” with reenactments of Brokeback Mountain or Frida Kahlo's 'Self–Portrait as a Tehuana’ seem calculated to evoke deep emotions from the audience, only for them to make no thematic sense whatsoever and instead come off as cringey. In season two, Levinson is driven by artistic and creative choices rather than character development, creating a mesh of episodes that are visually stunning but have nothing much to say. Season one excelled because of its character–driven narrative each episode centered on one character’s story and always began with a stellar cold open delving into their backstory. Even then, most of the story arcs don’t wrap up or have any resolution. It’s not until the final episodes that the stories are haphazardly thrown together, as the autobiographical play of Lexi’s life, ‘Our Life,’ recaps what's been happening in most of the main characters’ lives. And, for most of the season, these storylines remained separate from each other, with Lexi probably being the only character who was deeply involved in each one. After the New Year's Eve premiere episode, Euphoria split up its ensemble into three main storylines: Rue’s issues, Cassie/Nate’s issues, and Fezco’s issues. The biggest problem with Euphoria’s storyline is that, well, there isn’t one. But for an ensemble–heavy show like Euphoria that boasts beloved characters with intense and dramatic arcs, a cohesive story is the key component that weaves together all of the characters’ motivations and actions. Not every show or movie needs a clear storyline to be considered great-think of David Lynch who thrives on confusing plots, as seen in projects like Twin Peaks or Mulholland Drive. In many cases, this season of Euphoria felt more like a compilation of music videos stacked onto each other rather than hour–long episodes.Īs the sole writer of Euphoria, Sam Levinson let fans of the show down by failing to create a fleshed–out storyline for season two. Yet Euphoria still lacks the most fundamental aspect of a compelling show: a thoughtful storyline. ![]() There’s Zendaya, fancy costumes, stunning makeup, drugs, sex scenes, long takes, lots of music, choreographed dances, and incredible acting. Season two of Euphoria, Sam Levinson’s American teen drama series that follows modern–day high schoolers navigating adolescence, has it all. ![]()
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