Euphoria season 3: a descent into excess – and why it’s still failing

Sam Levinson’s Euphoria is back, and it’s spectacularly, predictably awful. The premiere was a deluge of designer logos and self-destructive impulses, a familiar formula that’s quickly become exhausting.

The problem isn’t new characters, it’s the narrative’s stagnation

The show’s core issues—a frustrating inability to move beyond style and a reliance on shock value—are amplified this season. Rue’s desperate foray into drug dealing, complete with a ludicrous $5,000 Japanese jacket, feels less like a compelling story and more like a pointed critique of the characters’ wealth and privilege. Nate’s continued financial struggles, juxtaposed with Bottega Veneta, are equally tiresome, and Sydney Sweeney’s calculated exploitation of her lingerie line feels like a cynical cash grab.

Beyond the surface – a glimmer of something real?

But amidst the excess, there’s a thread of something potentially worthwhile. Alamo Brown’s arrival, a character steeped in the dark history of the American West, offers a surprisingly sharp commentary on the themes of sin and consequence. His pronouncements about the ‘roll of the die’ – and the inescapable legacy of violence – cut through the superficiality. Even Rosalía’s appearance as Magika, confined to a bedazzled cast, holds a certain darkly comedic weight.

The weight of past mistakes

What’s truly unsettling is the show’s refusal to grapple with the consequences of Rue’s actions. Ashtray’s death from the previous season continues to haunt her, and her current involvement in Laurie’s operation feels like a reckless disregard for the devastating impact of her choices. It’s a stark reminder that Rue is spiraling, not evolving. The attempts to resurrect returning characters, like Eric Dane’s Cal, feel like desperate attempts to recapture a fleeting moment of interest, rather than contributing to a cohesive narrative.

A season stuck in a rut

Euphoria is trapped in a cycle of excess and superficiality. It’s a gilded cage of designer clothes and self-destructive behavior, offering little in the way of genuine insight. While the show may generate headlines, it ultimately feels like a hollow spectacle – a testament to the fact that style, without substance, is just noise. The fact that Rue is now facing the deaths of two people, directly linked to her previous actions, shouldn’t be dismissed. It’s a potent, if belated, acknowledgement of the damage she’s caused, but whether Euphoria will actually learn from it remains, frustratingly, to be seen.”n