Like “Rue” and its exploration of recovery, “Jules” expands Euphoria’s purview-but unlike “Rue,” “Jules” builds up a viable contender for co-protagonist of the show going forward. But there are still scenes with partners other than the therapist, set in locations other than her tastefully appointed office. (A cold open showed Rue and Jules together in a city apartment living out a fantasy of connubial bliss.) Produced under coronavirus protocols, “Jules” is still claustrophobic by Euphoria standards, a constraint Levinson leans into it’s a full seven minutes before his camera cuts away from a tight close-up on Schafer’s bare face, a stark departure from the elaborate eye designs that were Jules’s signature in Season 1. Partly as a result of its scope, “Jules” is less formally ostentatious than “Rue,” which was largely an old-fashioned bottle episode set at a single, sparse location. Subtitled “F*ck Anyone Who’s Not a Sea Blob”-“Rue” was captioned “Trouble Don’t Last Always”-“Jules” is framed around the title character’s first session with a new therapist ( Looking’s Lauren Weedman), when she discusses the events of last season, her relationships with Rue and her mother, and whether to stop the puberty blockers she takes via implant as part of her medical transition. Following the season finale’s cliffhanger, when Jules runs away from home and Rue declines the chance to join her, we learn that Jules has returned to Euphoria’s dreary suburb. (Levinson wrote each of Season 1’s eight episodes.) And where its companion was carefully calibrated to feel substantive without advancing the plot, “Jules” does some real scene-setting for a pandemic-postponed Season 2. “Jules” is directed by Euphoria creator Sam Levinson but cowritten and co-executive produced by star Hunter Schafer, another first for the show. The ‘Euphoria’ Special Barely Resembled the Show.
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