---
title: 'Euphoria, The Boys & The Final Season Curse'
source: 'https://youtube.com/watch?v=l-l9PH1KHfk'
video_id: 'l-l9PH1KHfk'
date: 2026-06-30
duration_sec: 3823
---

# Euphoria, The Boys & The Final Season Curse

> Source: [Euphoria, The Boys & The Final Season Curse](https://youtube.com/watch?v=l-l9PH1KHfk)

## Summary



## Transcript

Okay, let's talk. So, it looks like 2026
is the year of major TV shows in current
pop culture coming to an end. Stranger
Things ended right when the year
started. The Boys ended a few weeks ago,
quickly followed by Euphoria. Some of
the most popular and watched shows of
our time. The Bear is also going to be
ending a few weeks from now. I don't
know if that's good news yet. Making a
final season of a show is like the most
difficult thing to do in television.
probably right after making a good
pilot. Because when millions and
millions and millions of people watch
your show, you can never satisfy
everyone. And that's why a lot of people
believe it's impossible to make a good
series finale. And with the recent
history of big shows ending, it's easy
to think that. But of course, it's easy
to remember the bad ones. I recently
made a video about the series finales I
personally despise the most. and I made
a very short, very little, 5hour video
explaining why the ending of Stranger
Things is, in my opinion, one of the
worst of all time. But there are also
some excellent series finales that are
just amazing and close everything out in
a way that is memorable both for the
story and the characters. It's really
hard to do, but it is possible. Flea Bag
has one of the best finales I've seen in
recent years. Cowboy Bbop is one of the
greatest endings in the history of
television. We recently had the ending
of Succession, which was brilliant.
Seriously, if you haven't seen
Succession, fix that. The Leftovers has
a great finale. The finale of 6 Feet
Under is largely considered to be
perfect. Pantheon has what I would
probably consider to be a top five
greatest TV endings of all time. There
are many of them, but The Curse of Final
Seasons is something that is very hard
to escape for most writers. And we can
see that in the two recent juggernauts
that came to an end. Let's talk about
them. Starting with the boys.
I'm in my
still without
cowboy
6 years again.
Got nothing to prove.
So yeah, The Boys is now over after 7
years on the air. And I have thought
this is the ending to one of the most
praised pieces of superhero media in the
last like decade, if not more, featuring
what is largely accepted as being one of
the greatest villains in the history of
the genre and an absurd amount of
quotable lines from Carl Urban. Oh,
ending the show was always going to be
quite the task and there was a lot of
expectations riding on this final
season. And ever since it ended, there's
been a lot of debate on whether or not
the series stuck the landing. And I kind
of understand the divide with the
audience because the answer to that
question lies less in the finale and
more with the whole season altogether.
And that's where the conversation
becomes interesting. Okay, I've never
made a video about the show before, so
quick round up. So everybody knows where
I stand with The Boys. Season 1. This is
a [ __ ] spectacular season of
television. I love season one of The
Boys so incredibly much. The way the
season has of introducing us to its
world, first through the eyes of the
general public who believe superheroes
are amazing saviors and then through the
lens of someone who gets to see
firsthand what is hiding behind the
hopeful facade. It's just brilliant. The
writing is so tight. The characters are
super intriguing. The reveal of
Homelander at the end of episode 1
immediately puts him in legendary
status. The social commentary, the
satire of corporate shenanigans taking
over aspects of our lives, capitalism
and superhero media, all of it is just
pitch perfect. 9 out of 10. Instantly
iconic. Season two, a really solid
follow-up that doesn't quite get to the
heights of the first season, but that is
still amazing on almost every level.
Stormfront is an incredibly strong
antagonist. The subject matter of the
season is really well- handled. The
character arcs are absolutely insane,
especially when it comes to Homelander.
The Victoria Newman twist was
diabolical. 8 out of 10. Couldn't wait
to see more. Season 3. This, in my
opinion, comes very close to being the
best season of the show with season 1
right above it, just by a hair. Season 3
is so much fun. It is such an
entertaining season of television. The
addition of Soulja Boy, the Tempth V.
Butcher with laser eyes, heroasm.
Butcher and Soldier Boy in a 2v1 against
Homelander. The Black Noir storyline.
Queen Mave's character arc. Bro, this
season goes so [ __ ] hard. So [ __ ]
hard. It is not as thematically strong
as season 1, but it is some of the most
fun television we got to have in recent
years. 8.5 out of 10. I didn't think
this show could ever let me down.
Season 4 let me down. Despite some minor
issues with the show beforehand, The
Boys had this kind of consistent quality
of writing that made it magnetic and
incredibly exciting. The first three
seasons were kind of an astonishing
streak of being absurdly entertaining
while having a level of depth that had a
surprising amount to say, and this is
where that streak ends. Season 4 was the
first time I felt bored watching The
Boys. The season isn't atrocious. It's
not like unwatchable garbage, but
there's a significant and very
noticeable decline in the show that is
very telling. It's the point where the
show starts to feel tired. The logic
behind a continuation of this story is
being stretched, and this is the season
that really feels like, yeah, it's
probably time to wrap it up. There are
some characters we clearly don't know
what to do with. Some of the magic just
isn't operating anymore, and the story
has gotten ridiculous to a point that
isn't really entertaining. There are
some moments to enjoy and the
performances are still amazing. It was
always one of the biggest strengths of
the show. But overall, season 4 is a bit
of a jumbled mess with too many
characters that aren't as well written
as they used to be, weird narrative
decisions that rely too much on shock
value to function, and a story that is
starting to wear thin. Five out of 10.
Get your head in a game. And that leads
us to season five, the final season of
The Boys, the big conclusion to 7 years
of TV.
It's not very good, is it? Listen, as a
big fan of this series, despite season 4
being a bit of a letdown, I came into
season 5 hoping for the best. I really
wanted to trust that season 4 was the
show's bad day at the office, and that
season 5 would close things in a grand
and epic way. I tend to trust Eric
Krypkkey. He's really passionate about
the stories he tells. He cares deeply
about characters and he has a great
sense of spectacle to give you big epic
moments when the story calls for it. But
surprisingly, as far as epicness goes,
season 5 feels really cheap. It's kind
of the least epic and smallest scale
season of the show, which I find very
jarring because season 4 ramped things
up in a way that really signaled season
5 wouldn't be able to possibly get any
bigger. And the reason why I find this
bizarre is because of the sheer scale of
the marketing campaign. The posters
alone promised something so epic and
massive, it built crazy momentum.
Homelander in space, looking over Earth,
being ravaged with nuclear explosions.
Billy Butcher walking in front of the
fallen VA tower. Even the poster for the
finale has Butcher walking up to the
White House with Homelander hovering
over it and an army of soups behind him,
emulating the big White House finale of
the comics. Like this marketing campaign
was promoting the fulfillment of the
show's promise, the promise of ending by
going scorched earth. But instead, in
its big final run, the show has never
felt this small. It feels like 80% of
the season is taking place on the same
like four sets. There's this thing where
you can just tell the season is
operating on a very tight budget, which
Eric Krypkkey has been very open about.
And while the show has never felt this
small, the bigger problem is that
writing wise, the stakes have never felt
so muted. The stakes don't feel as
tangible as they did in previous
seasons, which sucks because season 5
does try to establish a certain sense of
urgency. But for a number of reasons, it
just doesn't really land. And I'm only
speaking for myself here. But I think
the reason why is that season 4 sets up
a lot of things that season 5 turns out
to not be interested in at all. And most
of that starts with the characters. I
think one of the biggest pieces of
criticism that can be attributed to The
Boys in its last two seasons, and my
personal biggest gripe with it, is that
the show is not really sure what to do
with most of its characters, and in many
parts, it ends up choosing to do
nothing. So many characters this season
that used to be integral to the DNA of
the show are just kind of there. They're
not really doing much, and even though
this is the final season, it doesn't
seem like the story intends to end for
them. And even when the plot is
interested in them, so many choices here
are either weird or very obviously a
result of the show needing to downscale
things. The weirdest example is Billy
Butcher. Season 4 ends by turning him
into what looks like the final boss. He
rips Victoria Newman in half like he's
speedrunning a Mortal Kombat fatality. I
would like to remind you that earlier in
that same season, we watched Victoria
Newman take a bullet to the head and
walk it off with a smile. She is
basically invincible. She's not an easy
person to kill. Butcher ends her while
knocking out half of the room and his
demeanor has completely changed. He
walks away looking like a [ __ ]
terminator. The message there is very
clear. Butcher has become something
different, something terrifying. He
makes it very clear that if any of the
boys stand in his way, he will kill
them. There's no care anymore. He's just
this sort of killing machine on a
mission to end Homelander. And then
season 5 immediately walks all of that
back. First of all, it largely strips
him of his power. Now, you're lucky if
his tentacles can even grab someone
accurately. He barely even uses his
powers throughout the season. And on the
sporadic occasion where he does, they're
not that useful. and personalitywise,
not the Terminator anymore. He's
basically just regular Butcher again.
It's one of several moments in the
season where the show feels like it
forgot what it was setting up like 5
minutes earlier. Huy is a character that
has been a little directionless for the
past couple of seasons. He's one of the
ones that are just kind of there and
he's not nearly as important to the
story as he used to be. With his dad
dead and his good boy persona being kind
of gone, the only thing about him that
could be interesting is his relationship
with Annie, which I find to have grown
surprisingly stale over the years. These
two still being together has not made
sense to me in a very long time. Annie
herself is a character that hasn't made
sense to me in a very long time. She's
taken a very passive role in the show
this season, and after the events of the
first three seasons, I really thought we
were gearing up for her facing
Homelander again after leaving Vault.
But no, Annie and Homelander do not
speak to each other for all of season 4
and all of season 5. It feels like a
very incomplete thread. It feels
unfinished, and Annie is now just a
passive part of the team that sometimes
will fight people and punch them
repeatedly. Season 4 had also set her up
as having unlocked crazy power, but it
never plays a part in season 5. Mm is
just kind of there as he has been since
season 3. And Frenchie is also just kind
of there as he has been since season 3.
And there are too many characters whose
presence just feels tired to me. The
more I think about it, the more I don't
think I will ever understand what the
point of this new black noir was. He
made absolutely no sense to me. Sure, he
was there to give the public the
impression that the seven are still
united, yada yada yada, but in terms of
the narrative, what was that? There are
so many things that felt like a setup
with him, but that never leads to
anything. We're told that he has to mute
a lot of his powers to embody Black Noir
because he doesn't have the same powers
as him. We're explicitly shown this guy
can fly, and it's implied he has powers
more similar to Homelanders, but then
that never plays a part in anything. He
just has a petty argument filler arc
with the deep and then he's strangled to
death and he never had anything to do
with anything that was going on. Boring.
>> This season also makes some choices
narratively that I found a little
convenient. In order for things to
function, the show really asks you to
push and stretch your suspension of
disbelief. I kind of rolled my eyes at
the screen when we were told the boys
recreated Soldier Boy's blasting power
in Kimiko in like a dayish. That to me
is just kind of treating the audience
like idiots. If it was that easy to do
it, why was this not plan A? And the
part that really made me sad to realize
as the season went on is that I just
kind of stopped giving a [ __ ] I could
feel my investment in the show
dissipating every week. I was bored with
the story. I didn't feel any stakes.
There was too much filler and I no
longer trusted the show to stick the
landing. I did not care about the V1. I
did not care about the religious
psychosis. I did not care when Frenchie
died. I did not care when firecracker
died. Her death scene was very well
executed, but I just didn't care about
her character very much. A lot of people
are like painting her as this martyr now
because the episode where she died tries
really hard to make you sympathize with
her. But um yeah, in case you forgot,
Firecracker was a white supremacist who
regularly hooked up with underage boys.
She is not a good person. She is not a
victim and she is definitely not a
martyr. She was taken out by the system
she fought for. Ironically, I think the
absolute peak in character writing this
season was with a train who is only in
the season for about 10 minutes of the
first episode. I genuinely believe the
strongest scene in season 5 is the final
scene of episode 1 when Homelander
chases a train through the woods and
ultimately kills him. A train making a
split-second decision to not repeat what
he did to Huie's girlfriend Robin in
episode 1, which is essentially what
sent him to his death is his story arc
coming full circle. And then he finally
has the courage to stand up to
Homelander and realizes he doesn't
understand why he was so afraid of him
because he can finally see Homelander
for what he really is. An insecure,
pathetic manchild with nothing. Take
away these powers and what are you? Huh?
pathetic,
weak, sniveling [ __ ] loser.
That was just a great moment when
Homelander just chokes him out of anger,
but a train just keeps laughing at him
until he dies. So good. And I really
believe this was the show setting the
tone. But no, the season unfortunately
doesn't keep that energy. I guess the
writers really needed to dig deeper for
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Season 5 is mainly about the boys and
Homelander discovering there is a secret
old formula of Compound V called V1 that
can essentially make someone immortal.
And everybody wants to get to it first.
And that's that's about it. That's kind
of the plot of the entire season. For a
final season that is throwing a lot of
[ __ ] at you, it's also pretty uneventful
and the characters aren't interesting
enough to carry a season that is
severely lacking in story. I don't think
it's unreasonable to say Anthony Star
has been carrying the boys on his back
since season 3. Homelander is one of
those rare villains that feels genuinely
iconic. And a huge part of that comes
down to Star's performance. What always
made Homelander so compelling though
wasn't just that he was powerful and had
anger issues. It was how weirdly
specific his psychology was. He had this
unspoken rule where he often spared
people who weren't afraid of him because
fear was the thing he craved most out of
people he couldn't get respect from. He
wasn't motivated by money, ideology, or
even world domination in a literal
sense. What he wanted was validation. He
wanted love, admiration, worship. He
wanted to be seen as a god while
simultaneously being desperate for
someone to hug him and tell him he's
special. That's what made him
fascinating. He was the most powerful
man on earth and also the most
emotionally fragile. Every room he
walked into felt like it could either
end with a handshake or a massacre
depending on whether somebody bruises
ego or not. In the first three seasons,
every time there was a scene with
Homelander, I felt physically anxious
because you never knew when he was going
to snap. The problem is that starting
around season 4, the writing begins
stripping away a lot of those layers.
Homelander becomes less of an
unpredictable narcissist and more of a
generic crazy guy. Earlier seasons
treated him like a ticking time bomb
whose actions were driven by a bizarre
combination of insecurity, loneliness,
narcissism, and a desperate, desperate
need for approval. You never quite knew
what he was going to do, but you always
understood why he did it. And he was
smart. I think the show ended up
forgetting over time that he had the
ability to pull some really good moves
that didn't necessarily involve him just
snapping necks. In season 1, he
single-handedly orchestrated a terrorist
attack from a foreigner country by
giving Compound V to maniacs so VA could
justify integrating soups into the
military. He was making moves back then.
It wasn't just about him being crazy.
But by the end of the show, that
complexity starts to wear thin, and
Homelander often feels reduced to angry
man with laser eyes. Anthony Star is
still giving an absolutely phenomenal
performance, but it increasingly feels
like the script relies on his
performance to make the character work.
And it's a shame because the writing
behind him used to be incredible. And of
course, you can't really talk about
season 5 without talking about what it
really is for half of its runtime, which
is the Soldier Boy show. Look, the thing
is I like the character of Soldier Boy a
lot, and I love Jensen Aes in that role.
But brother, my Hermono in Christ, his
presence in this season feels so out of
place. And do you know why? Because it
is out of place. Everybody has said that
his presence in this season is just an
extended ad for a spin-off series coming
out sometime soon. And uh yeah, people
are right. The entire [ __ ] Bombside
story line felt so forcefully shoved
into this season. And it's all just to
introduce us to characters that are not
going to matter to the story we're
currently watching, but that are going
to be in the spin-off. And I find it
really sad because it demonstrates in a
very obnoxious way that The Boys has
become a lot of the things it used to
criticize. It used to make fun of the
overly corporate approach to
intellectual properties and franchises
in Hollywood with everything needed a
sequel and a spin-off and the setting up
of these endless projects overriding the
story of the thing you're currently
watching. And yeah, that's what this
season does for about half of its
runtime. Naturally, it doesn't help that
the episode before the finale is easily
one of the weakest episodes of the show.
And that is what is so tragic about it.
In the end, I think season 5 is just
very forgettable. It's not insultingly
bad. Like it it's not Stranger Things 5,
but for a show that has proven to be
capable of being one of the most
thrilling things on television while
having very smart and poignant social
political commentary driving it, it is
kind of astonishing to see just how
boring, aimless, and opportunistic this
final season is. Some people were trying
to say that criticizing the show for
butchering four or five episodes of the
season wasn't that big of a deal, that
it was just four or five episodes and
that people were overreacting. I heavily
disagree with that. I mean, yeah, back
in the day you got like 24 episodes a
season. If you [ __ ] up four or five of
them, it wasn't the end of the world.
But when you only have eight episodes in
the season and you [ __ ] up four or five
of them, that's a different conversation
now, isn't it? If there is credit we can
give the season, though, it's that for
how ridiculous the political aspect of
the show has become, sometimes being
overly tacky and all. The season did
predict actual events with almost
godlike accuracy. the God thing where
Homelander wants to be God and then
before the episode even airs, Trump puts
out that photo of him as Jesus touching
and I was like I think Cry was like,
"Come on, give us two days."
>> A golden statue. It's It's so un It's so
unsettling. It's so depressing.
>> The golden statue.
>> So therapeutic.
>> Homelander believing that he's God.
>> The Jesus thing was ridiculous.
>> They wrote these episodes almost two
years ago. It was shot over a year ago
and I think the intention was to so
overshoot reality in order to sort of
like make a commentary on it.
>> So the fact that it's so parallel is
just really upsetting.
>> The show went from being a satire of
American politics and how embarrassing
they've become to being a literal
parallel that mirrors real life events
just a few days before they actually
happen. Just think about that. We are
living in a time where it's become
normal for satirical parodies to feel
more like preemptive documentaries than
the jokes they are supposed to be. But
that's not enough to save the show. So
after all of that verdict, is the series
finale of The Boys terrible? Is it
absolutely amazing?
It's okay. It's fine. It's not anything
unwatchable. It's also not that good
either. It's just kind of mid. It's like
a five out of 10. Middle of the road.
It's not an awful finale. It's an
entertaining episode of TV. But the best
way I have to describe it and describe
why it didn't land for so many people,
and me included, is simply that the
finale is a decent episode that has to
close out a terrible season. It's just
kind of all right. The thing is that
because the season was so underwhelming
and meandering, it felt very difficult
to feel the hype of what was going on
and it no longer felt like we were
concluding a great story. Most
characters, they didn't have arcs
anyway, but the finale tries to pretend
they did. And that's the big mistake a
lot of writers make with final seasons,
trying to shove every important ending
point into the finale. Everything has to
happen in the finale. So, the entire
final season kind of [ __ ] around and
doesn't really do much. And then
suddenly in the finale, way too much
happens, but nothing has time to breathe
because you can only fit so much inside
of an hour-ong episode. One thing the
finale briefly touches on that I
actually found interesting is Annie
realizing she's become exactly what she
promised herself she would never become.
When she first joined VA, she'd looked
at Queen Mave and saw someone completely
broken and emotionally checked out. She
swore she'd never end up like that and
then she did. That's a genuinely
compelling idea. The problem is the show
waits until the final episode to bring
it up. Annie spends most of the season
doing absolutely nothing and suddenly
the finale remembers she used to be a
character. It's like a forgotten
Christmas present you receive in June.
Nice gesture, wrong timing. The same
issue applies to Ryan and basically the
entirety of Genvie. Ryan was built up
for years as one of the most important
people in the story and then he barely
participates in the final season.
Meanwhile, Genvie spent two seasons
setting up Marie Maro, Sam, the virus,
and a whole bunch of supposedly
worldchanging developments that
ultimately amount to forgettable cameos.
Marie was positioned as one of the few
people who could potentially challenge
Homelander. Sam was basically being
framed as Homelander 2.0. The virus was
treated like a game-changing weapon that
took so much space in the entire story,
and none of it matters. 3 years of setup
leading up to two scenes, missing one of
those characters, by the way. Nobody
does anything and then they [ __ ] off to
Canada. Would you Is this the first
draft of the script? What the [ __ ] What
was the point? Well, we'll never know
because Gen V was cancelled after its
second season and we'll never get an
ending for these characters. But aside
from establishing that everything is
built up to through several shows in the
last 3 years ultimately doesn't matter.
The finale's biggest problem is again
the scale. So yes, just like in the
comics, the final battle of the boys
takes place at the White House under
drastically different circumstances, but
still in the comics though, the battle
of the White House is much, much bigger
in scale. The military is there. There's
a big soups war. It's absolutely
bonkers. But again, the scale of the
show in season 5 feels incredibly small.
So the entire fight takes place between
three people in the Oval Office. That's
about it. It's sort of entertaining if
you turn your brain off because if you
stop for one second to think about it,
this battle makes absolutely no sense.
Homelander lasers Kimo like three times
and she's only kind of knocked back for
a second. But in episode one of this
same season, he lasered Kimo once and he
sliced her in half. She literally had to
regrow the bottom part of her entire
body. Anyway, I could point out a
million of these things, but there's no
point. I kind of accepted after season 4
that I couldn't use my brain for this
stuff anymore. The fight is okay. It's
nothing really impressive. It has its
moments. I just expected them to deliver
on the scorched earth promise that had
been shoved down our throats for the
past like 4 years. If you haven't seen,
after the finale air, there are
incredible 3D artists who made little
short films depicting Homelander truly
going scorch earth, destroying cities,
killing countless innocent people in
stadiums and highways. Kind of like what
he fantasized about doing that one time
in season 2, I think. And those are
[ __ ] crazy. And that's kind of what I
expected him to do. I always believe
there would be a final moment of
Homelander going way too far and showing
the absolute monster he is for everyone
to see. The fact that we never actually
got to see him fully going berserk and
unleashing his power and all the rage
he's been bottling up for years is a
little disappointing. The boys has never
shied away from being so balls to the
wall, and I found this was the worst
moment to choose restraint. Instead,
they make his big going too far moment
more of his religious psychosis thing,
which is dumb. I don't like the
religious psychosis storyline. I think
it's so stupid. He didn't need that to
snap. We've been watching that
escalation for years. He didn't need
something like that to bring him
overboard. It works in the idea that
Homelander can ultimately never accept
love. He wants so desperately to be
loved, but he wants it on his own terms.
And he needs it to be fundamentally
unconditional. He needs to be worshiped.
He needs to be adored. But even when
people do love him, it's never enough
for him. He will always find a reason to
reject it. And he will never be
satisfied. Thematically, it works.
narratively.
So, we get a WWE match in the Oval
Office. Kamiko blesss everybody and they
all lose their powers.
The end of Homelander is pretty much
everything I expected it to be, and I'm
okay with that. I think he's a character
who had to be stripped of any shred of
dignity he could possibly have left. He
had to be so overwhelmingly pathetic in
his last moments and I think they pulled
that off. Anthony Star once again is
just a beast of an actor in this show. I
think regardless of the quality of the
boys going down, his performance as
Homelander is something for the ages. It
is unbelievable what he did with this
character to its very last moment.
Watching Butcher beat the ever living
[ __ ] out of him and seeing him beg for
his life in the most disgraceful way
imaginable. Even if I found that ending
a little unambitious and predictable, it
still felt satisfying to watch. And
that's sort of the emotional point of
the finale that really worked for me.
Butcher accomplishes his ultimate wish
to kill Homelander and get revenge for
Becca. But he realizes that doesn't
really change anything. It doesn't make
a difference. They kill Homelander, but
with Vault still at the top of the
world, it's only a matter of time before
another soup takes his place. So, he
wants to keep going. Let's not just kill
Homelander. Let's kill all the soups in
the world with that [ __ ] ass virus.
Butcher dying at the hands of Huey was
kind of the most predictable thing of
all time. I'm pretty sure everybody knew
that was coming. The scene is fine. I
didn't really feel that much emotion
watching it, but it's executed well
enough that I could just shrug it off.
It just all feels very rushed and
underdeveloped. See, my personal opinion
of the finale is that it's trying to
force two episodes of TV into one when
it really didn't need to do that. I
think that defeating Homelander should
have been the second to last episode and
then the finale should have been about
Butcher's heel turn and Huey being
forced to stop him. This is what I was
saying earlier about writers not
properly using the episodes of a final
season to end things, but rather try to
make everything happen in the finale.
This whole section of the finale from
Butcher snapping and Huey following him
to Vaude, it all happens so fast and you
can really tell the episode had to blast
through it because it was running out of
time. But it really didn't need to be
like that. Bro, focus. You wasted so
much time during the season with some
[ __ ] nobody cared about. That one
wasn't hard to figure out. To me, the
ultimate issue with this ending is that
it fails to fulfill any promise it set
up. If you wanted Scorch Earth, well,
you get slightly beaten down Room. You
wanted a thematic resolution to the
commentary behind the story? Well, there
isn't any of that really because
starting in season 3, there's a very
important shift to the show in terms of
what the endgame is going to be. See,
the original big bad of the series
wasn't Homelander. It was VA vault as an
entity as everything it represents.
There was an understanding in the DNA of
the story that this wasn't a show just
about beating up manchild Superman. It
was about dismantling a system engraved
in society and run by a corporate entity
with too much power. From the literal
superpowers of the maniacs it controls
to puppeteering the government,
orchestrating wars, manipulating crime,
all of it for the sake of profit. That's
where the biggest part of the commentary
that made the show lied. Sure, the show
promised that Butcher's endgame was
going to be his final stand against
Homelander, but as a whole, it was
always kind of understood that the
show's endame would be with VA. And then
the show kind of just forgot about that.
In fact, yes, Butcher was kind of right.
By the end of the series, nothing has
really changed. And while Homelander is
dead, the characters didn't really solve
the problem of the show. Homelander
wasn't the problem. VA was the problem.
Homelander was a symptom of the problem
created by VA. I never really thought
the show would end with Butcher
exterminating Soups, but for a while, my
personal theory was that the show was
going to end with the boys destroying
everything that is left of Compound V,
which would have ensured that soups
would die out with the current
generation. Because remember, Homelander
was an anomaly and soups are not
supposed to be able to naturally
reproduce, which is something the show
also forgets about because Annie is
pregnant at the end. So, I guess that
idea was never going to work out. But
since the show shifted its focus from
dismantling a system to just being like,
"No, we got to kick Homelander's ass and
that's the end all be all." For me,
watching this finale left me with a
feeling of the show being weirdly
incomplete. So yeah, the series finale
was entertaining at times, but
emotionally I came out of this final
season feeling absolutely nothing. Eric
Krypkkey has recently said that he
apologizes if people did not like the
ending, but that he really did tell the
story he wanted to tell, and I believe
him when he says that, which is more
than I can say about the showrunner of
Euphoria.
I'm in my round
still without
cowboy up
6 years again.
Don't break my groove again. Got nothing
to prove. Yeah. So, Euphoria finally
returned with its third and final
season, which means two things. One, we
are free from this [ __ ] And two, so
is the cast. I don't think anyone is
happier about the show being over than
the cats. It took four [ __ ] years for
this season to come out, which is
absolutely ridiculous. And you would
think that after all this time, we would
be coming back with a season that would
have been worth the wait.
You would think. I would also think that
if I didn't know any better. This is Sam
Levenson we're talking about. You just
kind of know you're in for a bunch of
nothing. Somewhere along the way,
Euphoria stopped being a show people
watched because it was powerful and
emotionally resonant with themes that
reflected modern youth and became a show
people watched to laugh at. It's the
latest hatewatch contestant in pop
culture. While season 3 was airing, a
friend told me that she felt Euphoria
had become the new Riverdale. And
honestly, I haven't been able to get
that comparison out of my head ever
since. a show nobody can take seriously,
but that for some reason they keep
coming back to out of morbid curiosity.
And I think that's why so much of the
discussion around season 3 felt
different. In the early days, people
were talking about the characters, the
themes, the performances. But now, most
of what I've seen about the show in
recent weeks is people sharing clips on
TikTok being like, "What the [ __ ] was
that?" This show is nonsense. It's bad.
It's
Sam Lemonson needs to be arrested. I
finally finished Euphoria. Wh what a
terrible season of television.
>> Are y'all genuinely enjoying this season
of Euphoria? And if you say yes, I'm not
going to lie. I don't fully believe you.
Like, this is not Euphoria.
>> So, Euphoria has finally ended, and I
feel like everyone is relieved. And much
has been said as the season has gone on
about how wildly disjointed this season
has felt, how tonally inconsistent all
of the characters and their stories have
felt from each other, and also just how
completely different this season feels
to the first two seasons of Euphoria. It
literally feels like a completely
different show.
>> I despised the Euphoria season 3 finale.
I think it's bad in the most
irresponsible and harmful way. And if I
said that episode one of season 3 of
Euphoria was like probably one of the
worst episodes of television that I have
ever watched cuz it's not it's like it's
obviously shock value, right? Like it
doesn't even make any sense.
>> Season 3 of Euphoria was absolutely
awful so far. The vibes, the characters,
everything.
>> Why did any of them do any of that?
Everybody needs to make the most
illogical choice ever all the time in
order for the plot points that you set
in place to make any sense.
>> It's so hard to watch. It's so boring.
It's got this weird creepy vibe to it.
Like,
>> check Sam Levenson's laptop. Check that
man's devices.
>> And that's the Sam Levenson way. Every
episode feels like a competition to
produce the next viral moment,
regardless of whether it serves a story,
which spoiler alert, it never does. It's
kind of like looking at a car crash. You
know, it's a disaster. You know, you
probably shouldn't be staring, but at
this point, you're weirdly committed to
seeing just how much worse it's going to
get. And boy, does it get worse. Season
3 of Euphoria is without a doubt some of
the worst writing the show has ever
produced, which is honestly impressive,
considering season 2 was essentially 8
hours of absolute nonsense. Although,
the biggest problem isn't that the
season is messy. Euphoria has always
been messy. The problem is that the
chaos used to come from the characters.
It used to serve the characters. It used
to serve the story, but now it feels
like the characters exist to serve the
chaos. All of that to be shoved in to
try and justify the existence of a
narrative that doesn't even make sense
anymore. In other words, season 3 of
Euphoria is Brain Rod, a shallow piece
of media with no meaning and no depth
that throws [ __ ] at you just for the
sake of it. This season takes place 5
years after the end of season 2. The
characters are now adults out of high
school and college and their lives are
very different. I could sit here and
walk you through it, but the reality is
it doesn't matter. All you need to know
is that Ru now works for this guy and
she has to do some really illegal stuff
to pay off a debt she owes. Kind of.
Everything else that happens around this
one plot point is completely pointless
and has no correlation to anything
you've seen in the past two seasons.
Come to think of it, this is basically a
reboot of the show. Visually, the show
remains stunning, although different now
that Sam isn't just ripping off yet
another woman he hired to work on his
project before kicking them out and
stealing their ideas, but it does look
good. The visuals are packed with like
gorgeous cinematography, dreamlike
imagery, and enough slow motion shots to
give Zack Snder a boner. Trust me. But
narratively, the season kind of feels
more interested in shocking the audience
for no real reason than telling a
coherent story. I found the main story
of the season to be incredibly contrived
and utterly boring. The crime underworld
story with Alamo was a snoozefest only
there to let Sam Levenson be the edge
lord he is. I don't care about any of
these characters anymore. They no longer
have anything to do with the characters
I knew at the beginning of the series.
None of them are likable except maybe
from Rue. None of them are redeemable.
Some of them die out of nowhere.
Honestly, I don't think the show has
ever made me laugh harder than when they
reveal Nate's dead body. That scene is
so ridiculous and again funny. It
reminded me of that scene in Pretty
Little Liars when the girls open the
trunk of the cop car and find a dead pig
in it. Like, you have to be 12 years old
to gasp at this. But I'm certain Sam
wrote this thinking, "Ooh, I'm so dark
and edgy. I'm such a provocator." I did
like big man and in the role of Alamo,
though. He's always so good in whatever
he does, and I don't care what anybody
says. His ultimate role is as one of
Emoteep's right-hand men in The Mummy
Returns. The character though is just
whatever. Kind of a generic kingpin type
of guy. Kind of a nothing burger. Alamo
only works because of the performance of
the actor playing him, which you could
say the same thing about virtually
everyone in the show after the first
season. The genre is completely
different. The entire season feels like
Sam Levenson watched Sakario or a
Tarantino movie and he was like, "I
could do that, too." And then he spends
eight hours proving he absolutely
cannot. This might as well have been a
new show because even the characters
feel like completely different people.
And at the exception of Ru, nothing that
happened in the first two seasons brings
any sort of coherence to what's going on
with them in season 3. And that's if
they're lucky enough to even have
something going on in season 3. I'm not
even being sarcastic here. This is a
real question. Can somebody explain to
me why Sam even bothered to write jewels
into this season? Genuinely, I mean,
good for Hunter Schaefer. Get that
paper. Get that yacht. But it's so
apparent the whole season that Sam
Levenson has absolutely no [ __ ] idea
what to do with this character.
Generally speaking, Jules is a character
Sam never really put any thought into
past season 1. She is a [ __ ] tourist
in season 3. She doesn't do anything the
entire season and then she doesn't even
get an ending. And I get it. She can't
have a conclusion because there is no
story to conclude. She hasn't had an arc
since the special episode about her
after season 1, which is probably one of
the best episodes of the show. But
overall, we just kind of lost the plot
here. The wedding episode is probably
the clearest example of this. This
appeared to me as the moment where the
show fully jumps the shark and stops
pretending there's a larger purpose
behind any of it. Drama no longer exists
to further character themes or push the
story forward. It exists because the
show has become addicted to escalation.
Every scene has to be louder, crazier,
more shocking and edgy than the last,
regardless of whether it makes any
sense. And the result is a season that
feels strangely empty despite all the
screaming and crying. It's constantly
throwing things at the audience, but
very little of it actually means
anything. It's chaos, sure, but it's not
compelling chaos. It's narrative brain
rod dressed up in expensive
cinematography and a Labyrinth
soundtrack. Oh, oops. Actually, no,
because Labyrinth [ __ ] off the show.
If I had a nickel for every person who
had a falling out with Sam Levenson in
the past few years, I probably would
have enough money to buy HBO. I'm not
going to get into that, though. I think
everybody knows about it. We've been
hearing about Zenaia and Sam Levenson
having a terrible relationship all year.
We all saw that incredibly awkward video
of Sam asking Zenaia to take a picture
with him on the red carpet at the season
3 premiere and she just ignores him and
walks the other way. We've all heard
that Zenaia and Sydney Sweeney are not
on speaking terms and Zenaia refused to
shoot with her in season 3, which is why
they don't have any scenes together.
We've all noticed that the cast barely
promoted the season, if at all. We all
know Barbie Ferrer was treated like [ __ ]
and left. We all know Labyrinth was
treated like [ __ ] and left. You all know
that stuff. I don't need to talk about
it. And this is the thing. If I'm trying
to be honest and fair to it, it's not
like the season is devoid of any merit.
Like I said, and like I've been saying
since I made my first Euphoria video 4
years ago, it's still one of the best
looking TV shows ever made. It's
visually gorgeous. The cast is still
amazing. Everyone is really good in it.
Performances are very strong, as they
have been throughout all three seasons.
Like, there is a lot to appreciate about
Euphoria. Every single problem I have
with the show comes down to Sam Levenson
and his writing, his script, his [ __ ]
ass dialogue, the very weird ideologies
he seems to pass through the characters,
the faux deep nature of his storytelling
that tries really hard to appear
profound, even though everything about
it is superficial and very poorly
constructed. A huge portion of season 3
revolves around sex work, and the way
the show handles that topic is strange,
to put it mildly, because the more time
you spend with these story lines, the
more it feels like the series isn't
actually interested in understanding
these characters as people. Instead, it
often comes across as viewing them
through a lens of judgment and ridicule.
Almost every sex worker in the season is
portrayed as self-destructive, morally
bankrupt, stupid, naive, or some
combination of the four. And well, the
issue is that when nearly every
depiction points in the same direction,
it starts to feel less like storytelling
and more like Sam Levenson is working
through a personal grudge. It is
incredibly clear that he despises sex
workers and he looks down on them and he
sees them as brainless imbeciles. And
the part that I feel uncomfortable with
is that Sam seems to be taking great
pleasure in humiliating these characters
every chance he gets. This is something
that has been very present in his
project since season 2 and especially
with the idol. Sam Levenson has always
had this recurring theme of punishing
promiscuity and there's no difference
with season 3. There's a cruelty to the
way some of these stories are presented
as if the show is refusing to explore
these people's lives and instead
punishes them for having them. At times
it really feels like he's standing
behind the camera like, "See, aren't
those people pathetic?" and he's
expecting people to nod along.
>> Sam Levenson seems to think that the
most degrading and depraved thing women
can do is engage in sex work. And he
intends to make them suffer for it.
Season 3 seems to be putting the
majority of its female characters on a
track to participate in sex work. And
not just participate in, but be
humiliated and degraded by, as evidenced
by Cassie's choice to become a sexy dog
emoji and a sexy baby, the most
exaggerated, egregious, humiliating form
of an Only Fans creator you could
possibly imagine. And in the first 15
minutes, choosing to have Khloe Cherry
specifically gagging and choking and
spitting all over the fentanyl balloons
that she's trying to swallow um feels
pretty indicative of how Sam Levenson
actually feels about these choices.
Jules is a shadow of a character that
also feels like is a character that's
just being punished being put in this
superficial like sex work prison that is
a much nicer prison than the one Maddie
and Cassie got put in, but still is like
a cage for her, a pretty gilded cage.
And I feel like all of these characters
are put in their cages by the end of
this series or killed. And again, this
is something that I would maybe actually
be interested in if any of these topics
were explored with like a modicum of
nuance, but they absolutely aren't. Like
Cassie is a great example of this, a
character that essentially just became
absurd comedic relief that by the way
was hugely offensive to sex workers and
like Only Fance models. In fact, there
was a controversy after like the episode
the Cassie Zilla episode came out, which
God knows how much of the budget went to
making Sydney Sweeny's tits as large as
[ __ ] possible. Yay, nuance.
Wonderful. Um, but like the stuff that
she's depicted as doing on Only Fans,
like the baby play and the pet play, is
literally not even allowed on the
platform. And it feels like a
conservative guy trying to fearmmonger
like what the most depraved idea of an
Only Fans model could possibly be.
What's the most offensive thing?
Sexualizing literal babies. Not even
something that these women are allowed
to do. And again, for a show that is so
obviously and violently anti-ex worker
specifically, um it never ever ever
even tries to get into the systemic
issues at play here. It never gets into
who the clientele is or why they are
dangerous or the real life dangers and
lifestyle of what life is like for sex
workers. Um, this show just seems to
think that these women are stupid and
they get themselves into these
situations by being dumb and naive and
greedy.
>> I'm not going to school you guys on all
of this. I'm obviously not the most
qualified person to talk about that in
depth. All I have is my own opinion and
I'm not a sex worker. But you can look
it up. A number of sex workers have come
out to stand against the show's
depiction of them, especially throughout
the second half of the season. Whether
they be porn stars, Only Fans, models,
strippers, you name it. Hundreds of them
have been very open and vocal about how
harmful and damaging this show is to
them, the image of their profession, to
the public, and by proxy to their
safety. Sam very clearly looks down on
those people, and he's not shy about
showing it. And it's made even worse by
the overwhelming religious angle of the
season. Somehow, despite discussing two
completely unrelated final seasons in
this video, both of them have to do with
religion overtaking the story out of
nowhere. I wonder if this is a
coincidence or if this is a theme that's
starting to grow in Hollywood. The
season becomes increasingly obsessed
with themes of sin, shame, guilt,
redemption, God, and when you combine
that with the show's portrayal of sex
work and how reductive it is towards sex
workers, it creates a worldview that
feels surprisingly judgmental, not
nuanced, not complicated, just
degrading. The further the season goes,
the more it feels like the characters
aren't really being filtered through a
human lens. And that's the Sam Levenson
way.
And this is where we have to talk about
Sam Levenson, who is definitely the real
antagonist of this show. By the way,
I've heard people refer to Sam as the
most overrated man in Hollywood. And um
no, he's not. News flash, uh you can't
be overrated if nobody likes you. And
Sam knows people don't like him. He's
very aware of that because he constantly
uses his shows and his movies as a way
to complain about the fact that people
don't like him. Malcolm and Marie is
pretty much just Sam Levenson being a
crybaby and thinking it's unfair that
critics don't like his [ __ ] but at the
same time, he kind of likes it. Like,
okay, let me explain. See, the thing
with Sam Levenson is his head is very,
very far up his own ass. He made the
first season of Euphoria. It was
successful. And now he actually deluded
himself into believing he is a living
legend and a genius even though
literally everything else he's ever made
sucked ass. The reason why he loves the
controversy around his work is because
he thinks he's a [ __ ] mastermind. He
100% believes he's the [ __ ] best. He
himself refers to the Idol as
revolutionary.
He genuinely thinks it's brilliant. When
The Idol premiered at a festival and all
those articles started to come out about
the production troubles of the show, the
one thing he had to say about all the
criticism was
>> when my wife read me the article,
I looked at her and I just
I just said, "I think we're about to
have the biggest show of the summer."
>> And that right there is the big tell.
Like I think Sam just wants people to
talk about him. He doesn't care if it's
positive discourse or negative
discourse. He just wants the attention.
As long as you're talking about him, he
loves it. After all, he is the ultimate
edgeward. He does edgy things because he
wants people to notice that he's doing
edgy things. And because he deluded
himself into thinking he's a super
genius, he one thinks he's a true master
at work, and two, continues to make his
stuff more and more edgy to try and get
more and more attention. If you don't
know what I'm talking about, Sam
Levenson has a certain track record with
the types of stories he tells. See, he
loves to portray young women being
sexually abused and or exploited. And I
don't mean that he does it with a point
or a message. No, no, no. What I mean is
his stories often are excuses for him to
simply depict gratuitous artsy imagery
of young women being mentally or
sexually abused just because it feels
more like a weird fetish he gets to put
on screen for himself rather than him
having to say something about the
topics. Some examples of that are the
infamous Russian roulette sequence in
Euphoria, the Lily and Nick scene from
Assassination Nation, the studio scene
from The Idol, or even the hairbrush
scene where Tedro spends an entire night
repeatedly beating Joselyn with a
hairbrush because her mother used to do
the same thing. And they think that if
he makes her experience that again,
it'll inspire her to make good music.
I wish I was lying, but that's a real
sequence. And of course, there is one
little moment from the pilot of the idol
where he kind of explains it out loud
through the mouth of one of his
characters.
>> Are we romanticizing mental illness?
>> Absolutely.
>> Mental illness is sexy.
>> No, it's not.
>> Yeah. If if you live in Sous City, Iowa,
you are never going to meet a girl like
Joseline. She didn't go to your high
school. She doesn't work at the bar or
the diner. and she did not marry your
best friend. And if on the off chance
she did, she is still never ever going
to [ __ ] you unless she has some very,
very serious mental problems. And that
right there is why mental illness is
sexy.
>> Yep. Given how his shows usually are, I
am convinced that this scene is
literally just Sam Levenson telling his
audience why he writes female characters
the way he does. Whether it's Jocelyn in
the Idol, Marie and Malcolm and Marie,
literally any female character in
Euphoria, the depiction of young women
in brutal emotional distress as a result
of abuse or mental health issues is
almost like a kink to him. He doesn't
repeatedly show it in every single one
of his projects to drive a point across.
I think he does it because he just
thinks it's hot. He just finds it really
cool. naked, crying, abused young women
in distress. That's his type. The
funniest thing about this season,
though, is just how obvious it is that
its brain deadad narrative is entirely
constructed around the schedules of the
actors. There are so many things
happening in this season solely because
they had to work around schedules.
Nate's entire storyline where he is
mostly by himself until he dies in the
dumbest way possible just screams we had
Jacob already for maybe a week where
nobody else was really available so we
had to get him to do something by
himself. Even the scene where his dead
body is revealed to Cassie and Maddie.
You can tell from how it's edited that
he definitely was not on set with them.
The entire story line with Rue meeting
up with Jules is very obviously set up
the way it is because they probably
couldn't have Zenaia and Hunter together
for more than like a day or two. So
like, okay, let's stick them together in
a condo and have them yap about nothing.
>> You don't want to kiss me like now?
>> Yeah, I'd kiss you.
>> But do you want to? I
>> mean, I find you very attractive.
>> That wasn't the question.
>> I'm confused. Do you want me to kiss
you?
>> That's all you want?
>> What do you want?
a lot of things. Like what? You want to
kiss me?
>> Then more nonsense happens. Cassie is
well, you know, she's never really up to
anything, but Sam Levenson really likes
certain things and Sydney Sweeney is
down for anything, so that's that.
Anyway, a bunch of [ __ ] happens for
no reason. And then Rue dies. That's
kind of the big thing this season. Ru's
death is incredibly contrived and not
earned at all. The way we get to it is
kind of stupid. But again, to be fair,
the scene itself, cinematically
speaking, is very well executed. It's
visually beautiful. It's incredibly well
acted. Han Zimmer suddenly remembers how
to make good music because he was asleep
the entire season. Like, it's a very
pretty scene. It's very nice to watch.
It's so well put together. It doesn't
change the fact that it is narratively
dumb as hell. It's trying really hard to
be poetic, but again, depth is not
something Sam Levenson is particularly
good at. He's about as surface level as
a leaf in the ocean. Like, if you cried
at this scene, I think it's very easy
for filmmakers to manipulate you, but
that's a whole other conversation for
another video one day. Ru's death
doesn't feel like the end of an arc. Sam
Levenson said it felt like an honest
ending. And okay, sure, I would have
understood that if the season would have
been about her relapsing or a more
connected story about the addiction that
has been such a part of her character
since season 1, but no, she's just
tricked into overdosing on fentinel. And
it's not like I'm surprised. I expected
Ru to die. The second the season starts
and they're like, Rue has been clean for
a while, it's like, okay, she's dead. I
know Sam Levenson way too well. He's not
doing that for any other reason that
he's gearing up for something shocking
because shock value is everything to him
and he seems to believe that doing
shocking things means the show is like
deep and whatever but it's not and it's
stupid. I guess it works for the
narrative Sam was going for, even if
it's a bad one, but I just found it very
cheap. Ali going to get revenge for Ru
in this [ __ ] ass western shootout is
just
What are we doing? This is so [ __ ]
stupid. I'll see you in hell, you
mother.
>> Okay, John Wick.
Ali abandoning everything he believes in
and giving this dumbass speech,
essentially saying that helping people
the way he has is futile, only to get
into a shootout because we're trying to
be Tarantino here. Just put me to sleep
already. I'm glad at least that Ali is
played by Coleman Domingo that makes him
stomachable to watch. I genuinely
believe Coleman Domingo is like
genetically unable to flop. Despite the
horrifyingly atrocious script, he
manages to still remain present and to
deliver and to give Ali a screen
presence that makes it bearable to
watch. But my god, that story line is
stupid. God, it's so dumb and it betrays
so much of his character. But whatever.
I just I just can't get over how stupid
this is. This moment in the finale made
me realize that at some point Euphoria
turned into a show for fans of Ryan
Murphy. And if you've seen this video,
you know what I think about Ryan Murphy.
I think he's a disgusting human being
who exploits people to profit on the
tragedies that ruin their lives. And
there are very few people in this
industry I respect less than him. And
his shows suck. And this is kind of how
I feel about Sam Levenson now. It's just
Edgeelord content with a pretty color
palette, but it doesn't make it any less
of lazy Edgeelord content. So,
congratulations, Ryan Murphy fans. You
now have a new weirdo to worship. Let's
hear you guys defend this one. And
that's ultimately what makes so much of
season 3 feel hollow to me. Euphoria
constantly wants credit for tackling
serious subjects, but it often treats
those subjects like visual accessories
rather than meaningful character
exploration. The trauma becomes the
spectacle. The suffering becomes an
aesthetic. At a certain point, it just
feels performative and frankly really
boring. If this sounds familiar, it's
because it's the exact same criticism
many people, me included, had of The
Idol. Different show, same pattern. I
don't want to spend forever rehashing
that argument, but I think it's
impossible to watch season 3 and not
notice how many of the same creative
instincts have followed Sam Levenson
from one project to the next. It gets
tiring to watch this show being so
utterly convinced to be much deeper than
it actually is to be much smarter than
it actually is because it is just trash
TV trying really hard to cosplay
prestige television. You're not that
guy, Sam. You're never going to be. I
really thought I would have more to say
about the season, but surprisingly, not
really. It was just really boring. And
despite the fact that in terms of
viewership, this was the most popular
season of the show, the response to it
online has been shockingly quiet. There
just wasn't that much of a big response
to it. People very much received this
season as something anecdotal. It just
kind of came and went and people have
already moved on. Three seasons in seven
years, and it feels like the majority of
people experienced the ending of it with
a bit of a shrug. I still have
appreciation for season 1, which is the
only good season of Euphoria. the only
one where the commentary felt like it
had a soul. And I genuinely believe that
had Euphoria been a one season limited
series that shook pop culture back in
2019 and it had ended there, it would
have been remembered as probably one of
the best limited series of our time. But
now, Euphoria is just this neverending
punchline that everybody will remember
for being unhinged and stuff. And okay,
cool. I guess that's also a legacy. But
it's just crazy that this is where the
show ended when you look at where it
started.
I'm in my
still
cowboy up
6 years again.
Don't break my
got nothing to prove. Yeah. Astro
vision.
Yeah, you will be disapproved.
I'm in my rank
still at without
cowboys
and six years born again.