Euphoria is back with more shock and scandal, but mixed reviews
Euphoria Returns with Controversy, Yet Faces Critical Divisions
The acclaimed American series Euphoria has finally returned after a four-year hiatus, featuring the return of its core cast including Zendaya, Sydney Sweeney, and Jacob Elordi. While fans eagerly anticipate the revival, critics have offered a mixed reception, with some expressing disappointment over the show’s evolution.
Early Reactions and Tricky Themes
Among the critiques, The Guardian’s Hannah J Davies was particularly critical, labeling the third season “absolutely not worth the wait.” She argued that the HBO series has devolved into “a grubby, humourless work of torture porn obsessed with and repulsed by sex work.” Davies highlighted how Cassie’s aspirations as a cam girl feel dated, and the portrayal of sugar babies and kink appears both voyeuristic and judgmental.
“This isn’t character development, this is fetish content. Disgusting,”
one user remarked on social media, while another added: “This is just disturbing.” The controversy escalated with a trailer showcasing Sweeney’s character in a sexualized baby outfit, curled pigtails, and legs open. The scene, which hints at her role as a content creator, has sparked debates about the show’s approach to modern America’s cultural trends.
Character Arcs and Narrative Shifts
Zendaya’s character, Rue, now a drug mule to repay a debt, has maintained her depth, with Davies noting her “excellent performance.” Meanwhile, Sweeney’s Cassie, who previously embodied high school rebellion, now navigates the world of OnlyFans, raising questions about her character’s complexity. Despite the show’s creator Sam Levinson aiming to highlight the impact of synthetic opioids on everyday lives, critics argue the bleakness of the characters’ struggles overshadows the message.
Divided Opinions and Creative Direction
While The Telegraph’s Eleanor Halls echoed the two-star rating, she framed the season as “misogynistic fantasies of a creepy old man,” criticizing the camera’s relentless focus on female characters. “Levinson has trapped all his leads in the performance or exploitation of sex work,” she wrote, adding that Rue remains the standout, “endearing, funny, and unpredictable,” unlike Cassie, who feels like a caricature.
“Whether that’s good or bad depends on if you want to see the biggest Gen-Z superstars… in ludicrous situations that feel like Breaking Bad meets Looney Tunes,”
commented the New York Post’s Lauren Sarner, who described the season as “an unhinged disaster.” For BBC Culture’s Caryn James, the show “has lost its zeitgeisty edge,” becoming a series with “very little to say, none of it very audacious or compelling.” Variety’s Alison Herman called it “never not entertaining” but noted its “disjointed fan fiction” feel.
As the season progresses, Vulture’s Roxana Hadadi noted the “airless” quality of its early episodes, lamenting the lack of meaningful cultural commentary. While the show continues to provoke discussion, its return has left audiences divided on whether it’s a bold experiment or a missed opportunity for deeper storytelling.
