I just watched the first episode of the new season of Euphoria, and I am already hesitant if I will like it or not. The aesthetics and storyline developed in the first two seasons have drastically changed to depict the growth of the main characters. Instead of the melodramatic, cool tones, this season portrays a stereotypical California aesthetic: daytime lighting, warm tones like orange and yellow desert scenes, and warmth.
Season 3 of Euphoria takes place 5 years after high school ended, allowing for new plot lines and characters to be introduced. Rue is still caught up in drugs, but this time as a drug mule for Laurie. Maddy is a talent manager, Cassie ponders starting an OnlyFans, and Jules is a sex worker. In just one episode, multiple perspectives are highlighted and the “reunion” of Rue and these characters is expected.
Now, Euphoria is not my favorite show. I have my personal qualms with the director Sam Levinson due to his over-sexualization of women and fetishes present in his writing, especially in the newest episode. In the same vein, the storylines in season 1, mainly from Rue and her family, Ali Muhammad (performed by Colman Domingo) and Jules (portrayed by Hunter Schafer) were particularly impactful to me. Those character arcs, coupled with the colors, lighting, and music, created the Euphoria aesthetic, something that I am missing during the promotion of the new season.
Labrinth
Timothy Lee McKenzie, better known as Labrinth, received acclaim for his musical composition for Euphoria seasons 1 and 2. Labrinth’s scores added depth to scenes and became extremely popular to Euphoria fans and outside audiences alike. His most popular songs from the soundtrack of season 1 are “Formula” and “Still Don’t Know My Name,” while “Mount Everest” and “All for Us” were included in the season but created before Euphoria.
From creating songs for specific characters or plot points, Labrinth’s music significantly enhanced my viewing experience of Euphoria. Mixing instrumental songs, songs with vocals, and featuring other artists like Zendaya or Dominic Fike, Labrinth integrated fictional storylines and music to expand Euphoria‘s cultural reach.
Amidst the release of season 3, Labrinth pulled his music from the season, claiming that he was mistreated by Euphoria and the industry as a whole. The absence of such a defining feature to the series and the overall controversy is something that I keep in mind when thinking about the newest season.
Petra collins
Petra Collins is a Canada-based photographer and artist known for her distinct use of color, grain, and style in her art and photography. Collins has photographed many popular celebrities like Olivia Rodrigo, Cardi B, and Selena Gomez, among others.
Season 1 of Euphoria is heavily utilizes these visual strategies that were “trademarked” by Collins:
- Blue, purple, and pink lighting (often meshing together to create a gradient or ombre effect)
- Sparkles and glitter (melting glitter to distinguish Rue under the influence of drugs vs. clean)
- Pastel and neon
- Blur or grainy photo texture
Before the controversy with Euphoria, directors and production studios consistently replicated Collins’ photography style in their work. Even Sam Levinson was under fire for plagiarizing Collins’ portfolio without asking for permission, thereby coopting Collins’ aesthetic and rebranding it for Euphoria.
From Maddy and Cassie’s iconic cheerleader makeup to Rue’s glitter tears, many fans associate the aesthetic created by Petra Collins with Euphoria season 1.
While Euphoria never fails to be controversial due to the behavior of Levinson or its sexual depictions, Zendaya’s role and the music from the beginning seasons hold a special place in my heart. When I inevitably get annoyed from the inconsistency or sensationalist scenes in season 3, at least I can remember the cultural impact of season 1. Who knows? Maybe this new season has the potential to be really good, even if it strays away from virtually everything the show began with.