PAGE 14 THURSDAY, MARCH 3, 2022
LIFE OLD GOLD & BLACK
Adam Coil, coilat21@wfu.edu Josie Scratchard, scraja20@wfu.edu
'Euphoria' explores complex issues SOPHIE GUYMON Opinion Editor
This article contains spoilers for "Euphoria". Reader discretion is advised. Since season two of HBO’s “Euphoria” premiered on Jan. 9, it has been one of the most talked-about shows on television — and for good reason. According to Twitter analytics, it is now the most-tweetedabout show of the decade. “Euphoria” is certainly not perfectly produced — there are a number of character and plot decisions that director and executive producer Sam Levinson could be rightfully criticized for — but the show is almost perfectly nuanced. Unfortunately, much of the audience is unable to look past their superficial issues with certain characters and plot points to appreciate the show’s incredible portrayals of issues such as substance use and abuse, trauma, grief, identity and relationships. As Zendaya once told costume designer Heidi Bivens, “There [are] two versions of Euphoria: the TikTok version and the real story that digs a lot deeper.” Not every character has to be as likable as they were in the first season — and development isn’t linear. While characters such as Cassie and Jules went from being fan-favorites in the first season to being
hated in the second, the choices Levinson made regarding these characters were not without reason. Cassie’s decisions in season two make a lot of sense, especially when considering her background — particularly her relationship with her dad and her abortion at the end of season one. The same can be said for Jules — in her special episode that aired between the first and second seasons Jules discussed her struggles with femininity as a transgender woman, providing vital context for her character and decisions. Almost none of the decisions made on “Euphoria” are baseless. I may not be thrilled with Levinson’s decision to kill off Ashtray in the finale, but I cannot say that it wasn’t thought out. Fez and Ash lead an incredibly dangerous lifestyle — and while Fez has some memories of a life before drug dealing, it is all Ash has ever known. He doesn’t have a legal name or identity records. Physically, he is still a child, but he never really had a childhood. Ash’s fate effectively portrays the brutality and tragedy of his lifestyle. However, where “Euphoria” really shines is in its portrayal of teenage addiction, which is based on Levinson’s lived experience. It doesn’t paint a pretty picture — the accusations of Levinson glamorizing drugs are almost laughable. Addiction has the capacity to transform good, kind people into selfish, heart-
less ones. “Euphoria” really hammers in this truth — not only through the main character Rue but also through peripheral characters such as Lexi's and Cassie’s dad, who effectively abandoned his family after becoming addicted to heroin. Rue has come close to irreparably damaging many of her valued relationships because of her addiction, treating her friends, family and peers in ways that she would never do when she was sober. By the end of season two, she makes amends with many of the people she cares about — like her mother, sister and sponsor, Ali — and remains clean through the end of the school year.
Photo courtesy of IMDb
However, the troubles of her addiction are far from over — the threat of repaying Laurie and the possibility of being sex-trafficked are still hanging over her head and will likely be explored in Season 3. She is still learning how to move forward and live her life without the substances that had become her crutch. Rue, in spite of her flaws, tries to be a good person — if not for the sake of herself, then for the sake of the people she cares about. She remains a sympathetic character through it all, and among the tragedy and brutality of “Euphoria”, there is still a message of hope. No character or action is irredeemable — with the exception of Nate Jacobs — and everyone deserves grace, both on and off the television screen. It’s incredibly important that shows like “Euphoria” be approached with a certain mindset. Every episode begins with a disclaimer that its content may be disturbing to viewers and discretion is advised — and these should be taken to heart when watching, interpreting and discussing the show. People should not watch “Euphoria” to escape from real-world problems or put fictional characters on pedestals. People like to see things wrapped up in a pretty bow with no loose ends. “Euphoria” may not satisfy that desire, but that is the point.
Zendaya's character battles a drug addiction in the show "Euphoria".
Romantic comedy relies on delicate dance of key ingredients OLIVIA FONDIE Staff Writer
Romantic comedies are an especially polarizing genre of movie. Regardless, in unsteady and unpredictable times, one can always rely on the comforting presence of a romantic comedy. The genre inspires joy, laughter and sometimes tears — mostly the happy kind. I often gravitate towards more complex genres, yet something about the occasional mindless and blissful film makes me feel warm and cozy. In this article, I chose to look at the dichotomy of romantic comedies — the good and the bad — because I hope to help viewers reassess the genre. Romantic comedies have more to them than what meets the eye and I hope to differentiate between quality and shoddy work. What makes a romantic comedy fail: Cheese. If a romantic comedy maxes out on the cheesiness scale then in my mind it loses its integrity as a film. When I watch a romantic comedy I look for three key ingredients: characters I care about, a fun setting — whether that be a workplace or New York City — and a tumultuous but entertaining journey. If a film lacks any of these three components, then I don't want to watch it. If I find the leading lady to be annoying or overly frustrating, I cannot get on board with want-
low those simple guidelines, then you have yourself the makings of a fantastic romantic comedy. What makes a romantic comedy succeed: For many, these films bring comfort, escape and a dream-like state where “happily ever after” seems more possible than ever. As aforementioned, the success and appeal of a romantic comedy is the combination of loveable characters, adventures and a fun setting. I personally enjoy the following tropes: workplace romance, enemies-to-lovers, friends slowly realizing their love for one another and the joining of two unlikely people. Yes, those tropes cover a lot of territory, but I cannot help but be a sucker for love! Another component that propels a roPhoto courtesy of IMDb mantic comedy to the top of the list is a Keira Knightley and Andrew Lincoln co-star in "Love Actually", great soundtrack. One of my absolute favora film that follows multiple romances during the holidays. ites is “The Holiday” (2006). This film score was composed by none other than Oscaring to see her love life succeed. If the male is there are so many storylines to follow, the sto- winner Hans Zimmer himself, composer reasonably unappealing and falls into the ste- ry of the main characters is lost. Feeling either for films such as “The Dark Knight” (2008), reotype of a womanizer, I am not interested. empathy or sympathy for a character is a slow "Interstellar" (2014) and "Dune" (2021). A On another note, romantic comedies don't burn as you see their triumphs and failures. In classical film score that intensifies the love work when the viewer is bombarded with the previously mentioned ensemble of films, in the air is a guaranteed recipe for success. numerous storylines. Yes, I am bashing the the audience doesn't get to know any of the Beautiful setting, beautiful music, beautiful Christmas classic “Love Actually” (2003), characters well enough to really care about people — now that's the perfect melody. along with its other holiday companions their storylines. Basically, do not put a bunch “Mother’s Day” (2016), “Valentines Day” of annoying people in a boring location and (2010) and “New Years Eve” (2011). When give their story no complexity. If you fol-
