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.
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And sure, my anticipation is filled with a healthy dose of trepidation, but I’m still excited nonetheless.
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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.