“I feel like you ruined me forever,” she admits, but he jokingly dismisses her: “How does it sound romantic when you say it like that?”
Euphoria has never really elaborated on Maddy’s complicated affection for Nate since the breakup, but here, she resigns herself to the fact that she can’t get away from him, even with the awareness of his pernicious effect on her. I do think Maddy’s babysitting job was just an elaborate justification for her and Nate doing Malcolm and Marie 2.0 at a SoCal mansion. When she’s with Jules, she’s the sober third wheel (or is forced to act like it, at least).įrom one love triangle to another, the Nate/Cassie/Maddy situation comes to a head at Maddy’s birthday party from hell. She resents that when she does partake in their drunken hedonism, she’s chastised for it. She resents that she has to sit in the back seat while Elliot and Jules have fun. I think it’s here where we see Rue’s pent-up anger from the train station finally emerge. A late-night trip to steal some alcohol turns sour when Rue starts drinking to Jules’s horror. But you can only keep an act like that up for so long. It’s only until he witnesses Rue and Jules arguing - and the insidious damage he’s caused - that he decides to confess about Rue’s relapse to Jules.Īs the three hang out at Elliot’s place, a fluid continuous shot illustrates the intricate high-wire act needed to pull it off: Jules and Elliot jumping away from each other just before getting caught Elliot heading to the bathroom to check the line left by Rue. He’s seen Rue’s vulnerability and love for Jules firsthand, and yet he doesn’t hesitate to ruin that the moment Jules thinks being called a whore is endearing. But he’s also quietly one of the most corrupt characters of the series. Woefully underwritten and lacking any interiority whatsoever, it feels like he exists just to inject some more chaos into Rue’s life. It’s here that the dreaded love triangle between Rue, Jules, and Elliot becomes a reality - though who knows why because Elliot is such a nothing character. (“Don’t tell anyone, but she might as well be going down on my ankle.”) To Jules’s embarrassment, the best she can do is perform an unconvincing fake orgasm. If she’s emotionally stimulated, the same can’t be said on a physical level - she’s too high to feel anything. “This may be the greatest thing that has ever happened to me,” Rue thinks. They’re as beautiful as a Frida Kahlo painting and bound together for life like Jack Twist and Ennis Del Mar. As Jules goes down on her, Rue imagines the pair of them as works of art. Since it’s an unspoken rule at this point that a Euphoria episode can’t start without a naked body or a sex scene, “You Who Cannot See, Think of Those Who Can” begins with Rue and Jules under the sheets. That’s a testament to the power of Zendaya. (Sure …) But the real defining moment of this episode is Rue swaying by herself in her bedroom, her arms reaching out to embrace no one. Nothing has capitalized on her star power quite like Euphoria, and even when the show’s worst tendencies threaten to eclipse her, she still confidently carries every episode. “You Who Cannot See, Think of Those Who Can” sees Rue destroy the last relationships she had, culminating in a contrived hallucination with Labrinth in a church. It’s not because of its drama or beauty either. But why? It’s not because of Sam Levinson’s writing or his provocations, which are not only a frequent target of criticism but a bona fide meme at this point. And sure, my anticipation is filled with a healthy dose of trepidation, but I’m still excited nonetheless. Despite feeling underwhelmed every week, I still look forward to what’s coming next. Now that we’re halfway through this season, I’ve been thinking a lot about why I keep coming back to Euphoria.
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