We’ve all heard of being too depressed to even pee, but do we really need to watch Rue give herself a UTI in real time, complete with multiple cutaways to the action in her kidneys?
But as usual, Euphoria’s need to pile on the shock value ends up robbing her scenes of their power. Rue’s slide from mania into depression builds up to another bravura visual sequence, as her flat-affect stare slides through the days in a rotating, interlocked time loop.
Zendaya continues to be Euphoria’s beating heart, delivering parody as ably as she does wrenching scenes of a despondent Rue crying into her comforter. Linking that aspect of mania to a vintage “cop on the edge” narrative is the rare occasion where Euphoria’s love for genre pastiche adds up to something more. Anyone who’s intimately familiar with manic episodes will tell you that they have an odd clarity, as if all the threads of the world were suddenly comprehensible and connected.
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A couple of sequences are outright brilliant, particularly a comedic one with Rue as a hardened, Serpico-style ’70s cop trying to crack the case of why Jules has been so withdrawn. “The Trials and Tribulations of Trying to Pee While Depressed,” the penultimate episode of the season, ambitiously attempts to depict both sides of Rue’s bipolar disorder, with varying results. Every time a Rue or Jules story line manages to gain some narrative velocity, Nate inevitably shows up to drag it back down to earth.
Unfortunately, the thread tying the two stories together is Nate, a cartoon villain who’s completely lost what little dimensionality he had in the show’s initial episodes. And then there’s the story of everyone else, which has grown plodding and predictable. There’s the story of the misfits - Rue, Jules, and Fezco - which, despite its flaws, has aspects that feel urgent and original. Euphoria increasingly feels like it’s bifurcating into two shows.
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