Euphoria Returns: A Mixed Bag of Shock, Scandal, and Criticism

Zoe Martinez, Arts Correspondent
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After a four-year hiatus, HBO’s provocative series *Euphoria* has made its much-anticipated comeback, once again drawing fans into its world of teenage turmoil and adult dilemmas. With familiar faces like Zendaya, Sydney Sweeney, and Jacob Elordi reprising their roles, the show has sparked a wave of reactions, ranging from enthusiastic accolades to harsh criticisms, as it navigates the treacherous waters of modern youth culture.

A Disappointing Return?

The premiere of season three has not been met with unanimous acclaim. The Guardian’s review slammed the new season as “absolutely not worth the wait,” while the Telegraph echoed similar sentiments, labelling it “tired and dated.” Critics have noted a palpable shift in the series’ energy, suggesting that the once groundbreaking narrative has lost its edge.

On the contrary, some reviewers have acknowledged the show’s enduring allure. The Times described the series as “a dazzling (and stomach-churning) spectacle,” while the Independent praised its ability to portray a “clear-eyed, unflattering portrait of modern America.” This divergence in opinions reflects the show’s polarising nature, a hallmark of *Euphoria* since its inception.

Controversial Themes and Provocative Imagery

One of the season’s most contentious elements arises from the portrayal of Sweeney’s character, Cassie, who is now an OnlyFans content creator. In the trailer for upcoming episodes, Cassie is seen in a disconcerting scene dressed as a baby, prompting a flurry of backlash on social media. Critics have pointed out that such depictions do more than entertain; they flirt dangerously with fetishisation and objectification. One user condemned it as “disgusting,” while another described it as “disturbing.”

This latest controversy has reignited debates surrounding the show’s treatment of sex work. The Guardian’s Hannah J. Davies articulated a growing concern, describing *Euphoria* as “a grubby, humourless work of torture porn.” The handling of Cassie’s storyline, in particular, has been accused of being both voyeuristic and judgement

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Zoe Martinez is an arts correspondent covering theatre, visual arts, literature, and cultural institutions. With a degree in Art History from the Courtauld Institute and previous experience as arts editor at Time Out London, she brings critical insight and cultural expertise to her reporting. She is particularly known for her coverage of museum politics and arts funding debates.
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