Euphoria is back with more shock and scandal, but mixed reviews
Euphoria Returns with Controversy, Yet Mixed Reception
After a four-year hiatus, the critically acclaimed US series Euphoria has resumed its run, with its core trio of Zendaya, Sydney Sweeney, and Jacob Elordi reuniting for season three. However, the latest installment has sparked polarized reactions, as some critics argue it lacks the brilliance of its predecessors while others praise its bold, unflinching portrayal of modern America.
The show’s latest season has already stirred debate, highlighted by a trailer that features Sweeney’s character, Cassie, in a provocative, infantile pose. In the clip, Cassie is seen with curly pigtails, a dummy in her mouth, and legs parted—a visual that has drawn sharp criticism. “This isn’t character development, this is fetish content. Disgusting,” one social media user remarked, while another called it “just disturbing.” The controversy reflects the series’ ongoing exploration of sex, drugs, and teenage turmoil, which has long been its hallmark.
First Episode Sets the Stage
Currently, only the debut episode is available, in which Cassie convinces her fiancé Nate (played by Elordi) to let her upload videos online to fund their wedding. This decision underscores her shift from a high schooler to an OnlyFans content creator, a role that has become central to her character arc. Meanwhile, Zendaya’s Rue has evolved into a drug mule, driven by a debt to a dealer—a transformation that has drawn both admiration and scrutiny.
“This isn’t character development, this is fetish content. Disgusting,” wrote one user on social media.
“This is just disturbing,” commented another.
The Guardian’s Hannah J Davies, in a two-star review, criticized the show as “a grubby, humourless work of torture porn obsessed with and repulsed by sex work.” She noted that Cassie’s portrayal as a sexualized figure feels dated, while storylines involving sugar babies and kink are described as “voyeuristic and judgy.” Despite this, Davies praised Zendaya and Sweeney’s performances, calling them “excellent” and highlighting the creator’s intent to critique synthetic opioids’ impact on young Americans.
The Telegraph’s Eleanor Halls echoed similar concerns, dubbing the season “the misogynistic fantasies of a creepy old man.” She argued that Levinson’s narrative centers his female characters in roles that “feel like performance or exploitation,” with the camera constantly objectifying them. “Rue is endearing, funny, complicated, and unpredictable,” Halls contrasted, while Cassie has become “a caricature of an airhead sex kitten.”
Elsewhere, the New York Post’s Lauren Sarner labeled season three “an unhinged disaster” and “an off-the-rails roller coaster of insanity.” She acknowledged the show’s ability to deliver “ludicrous situations” akin to Breaking Bad meets Looney Tunes, but questioned its narrative coherence. “If there’s a loftier point beyond the camera ogling her, it’s nowhere to be seen,” Sarner added.
BBC Culture’s Caryn James noted that the series has “lost its zeitgeisty edge,” with its current season offering “very little to say” and “none of it very audacious or compelling.” Variety’s Alison Herman similarly described the show as “never not entertaining” but “disjointed fan fiction.” Vulture’s Roxana Hadadi criticized the early episodes as “completely airless,” noting the lack of depth in depicting America’s cultural decay.
While some see the show as a daring reflection of contemporary issues, others argue its focus on extremes has overshadowed its narrative potential. As the season progresses, it remains to be seen whether the creators can balance shock value with a more cohesive story.
