Euphoria and the nihilism of a generation raised on Andrew Tate and Bonnie Blue

The third season of Euphoria has been hard to miss for anyone with a smartphone. What began in 2019 as a drama about hedonistic, privileged teens has evolved into television designed to dominate feeds with memes and outrage. Even before the finale, the show has delivered OnlyFans storylines, pup play, sugar daddies, mummification fetishes, a disastrous wedding, sliced fingers and toes, venomous snake attacks, a cockatoo assassination (RIP Paladin), gangster shootouts and several characters buried alive.

Set five years after graduation, the series often seems unmoored outside the high school setting, hopping between genres and plots that some viewers say glamorise misogyny and violence. Still, it continues to take bold artistic risks, has turned Sam Levinson into a polarising creative force and pushed its cast into A-list visibility.

The result is a strange, very “2026” contradiction: at times ridiculous, and at the same time undeniably influential.

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