(There will be eight total.) He kicks off season two this way, perhaps, to announce two prevailing elements in this run of the dark teen drama: an interest in exploring the parental relationships and childhood patterns that have made the Euphoria characters who they are, and a commitment to going in even more audacious creative directions. As established in its first season, which unspooled on HBO in 2019, Levinson is a filmmaker with a moody vibe all his own, one he leans fully into throughout the seven new episodes provided to critics in advance. Levinson doesn’t spend the entirety of Euphoria’s second season mimicking the style of one of the great American filmmakers, though. The content, pacing, and cutting of the sequence is all pretty Scorsesian, but the casting of Kathrine Narducci from The Irishman (and also The Sopranos) as Fez’s grandmother, along with the soundtrack appearance of Harry Nilsson’s “Jump Into the Fire” - famously used in the GoodFellas helicopter sequence - cements the notion that Sam Levinson, creator, writer, and director of Euphoria, is trying to pull a Marty. There’s Grandma marching into a strip club and shooting a guy in both thighs while his erect penis is exposed Grandma bringing a very young Fezco, her “business partner,” to a handoff of illegal substances and Grandma sharing important life lessons with her grandson while dropping myriad F-bombs. The almost ten-minute flashback that recounts the relationship between drug-dealing Fezco (Angus Cloud) and the gangster grandmother who raised him unfolds in a briskly edited rush of imagery. The first episode of Euphoria season two opens blatantly, unapologetically, like a Martin Scorsese film.
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