The Prestige TV Podcast - 'Euphoria' Season 3 Finale: In God We Trust

Episode Date: June 1, 2026

Jo and Rob deliver their final testament on the 'Euphoria' Season 3 finale. (0:00) Intro (0:58) Instant Reactions (07:38) Rue (14:45) Lack of Jules (21:48) Homestead finale (35:10) Meaning behind the episode title (42:15) Fez (54:00) Will Euphoria return? Email us! ⁠[e-mail]⁠ or ⁠[e-mail]⁠ Follow us on ⁠IG⁠ and ⁠TikTok⁠! Subscribe to the ⁠Ringer TV YouTube channel⁠ here for full episodes of ‘The Prestige TV Podcast’ and so much more! Hosts: Joanna Robinson and Rob Mahoney Producers: Kai Grady, Devon Renaldo, and Jamie Yukich Additional Production Support: Jack Wilson, Justin Sayles, Chris Wohlers and Jacob Cornett Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, welcome to a very special live episode of the Pressy TV podcast. I'm Joyner Robinson. I'm Rob Mahoney. And the Euphoria finale has happened to us and to all of you here on this Sunday evening. And to Snowflake. Oh, no, snowflakes fine. Well, his eyes were shielded. Listen, spoilers for the euphoria finale.

Let's just get that out of the way. Yeah. And we're going to break down the episode, not like sort of beat by beat, but give our more instant reaction. We are, that's audio coming out of my own laptop. That's how you can tell we're live. you can send us questions in the YouTube chat if you want to we will address those sort of at the end

of this episode Rob how are you feeling not great I thought this was a deeply strange and mostly pretty bad finale of a show that I quite like and I really wanted to be here in the end in a place of some kind of peace and I got to say

I just am not there's no peace in the valley for Rob Mahoney Okay. This is the Pressy TV podcast feed. We are covering Widows Bay and Cape Fear coming up. And this is us wrapping up Euphoria. And I also feel pretty bad. Yeah.

But I do want to say this. I'm just going to give you a roadmap of when I cried while watching this episode. When Rue reached her mom. Yes. Okay. When Ali found her. When Jules was painting Rue, a silent performance.

performance from Hunter Schaefer, but nonetheless, an impactful one. Art is speech. When Lexi was talking about Rue, I thought Mod Appetal was really good in that moment. And then when Ali called her his daughter when he got to the homestead. That really got me. So there is really good stuff inside of this finale. Like, I think so. I agree.

I think there's some really, really effective, impactful stuff. And then there is just a lot around it that I think was much less successful. What do you feel like the smartest thing this finale did? I think the smartest thing is to make it so that Rue delivers Ali some kind of peace rather than the other way around. We're setting up through all the seasons of euphoria, Rue trying to get her life in order, having Ali's voice in her ear at various points trying to set her straight,

and that it's her guidance that brings Ali to the homestead and to get some kind of closure. I actually found that to be really powerful. All the elements of how we got there didn't quite work for me. but look, if we're going to set up the Moses framing here of who gets delivered to the promised land and who doesn't and Rue is Moses, at least we follow through on it. Yeah, we'll circle back to some of the Moses imagery here, but for me, it was anchoring us in Ali's emotional journey.

So it's very similar. Like the way they used Coleman Domingo, not all of it. Because I, in turn, my next question is like, what is the dumbest thing this finale did? And I think the amount of time we spent on the Nazi Shudah at the beginning, and then the strip club shoot at the end, I think was a misfire for me. At least in the strip club, we had Maddie there, who I care a lot about.

But just barely there. Right, not actively doing anything. Not a thing. And then Ali there, you know, so Coleman Domingo being there is impactful to me. But I thought there was just so much distraction around what could have been a very strong emotional core of this episode, which is Coleman Domingo.

What did you think the dumbest thing this episode did was? First of all, I do completely agree with you on Coleman Domingo and his emotion and performance within this episode. Some of what he's asked to do is like just give a PSA about fentanyl. Yeah. And I think some of that messaging and tone while well intended and I want to get into it, I don't want to be glib about this part of it. Because you can tell this is a very emotional story that Sam Levinson and the people who make you for you are trying to convey not least of all because of like their proximity to this. kind of death and this kind of overdose with Angus Cloud, right? Like, that is not something you just want to gloss over.

That's not something you want to joke about. It is very strange, though, to take a show like Euphoria into this, like, almost direct-to-camera messaging about black and white and good and evil and just, like, I mean, hitting everything so hard in the end, I just found so odd. We talked about this a little bit last week, you know, when I said that hearing some of the things that Elise said I had literally heard come out of Sam Levinson's mouth and once again like in my notes I wrote this is Sam on

his pulpit right like and he's preaching something and again I will say the same thing I said last week which is like I understand if he's like here's the euphoria potentially series finale but certainly you know a season finale of a show that no longer stars Sondaya or Jacob Allorty

I'm going to say what I need to say about fentanyl I agree with you like I understand the impulse to do it I don't know that I think it was artistically interesting at all, but like, I understand the very human impulse to be, here is my platform, I'm going to use it. I want to help people and instruct people. And I will say, you know, we watch this sort of like behind the scenes that they aired after

the episode. And Sam Levinson talking about how, you know, he was an addict when he was younger. And when he was younger, fentanyl was not a thing. and he said, if fentanyl had been on the market when I was younger, I think I would have died. Yes. You know, and there's another interview with Sam over on Esquire again this week

with my pal, Anthony Breznikin, where he is talking about, you know, when I was an addict, or he's, you know, you're perpetually an addict, but when he was using, that it wasn't one single dumb move and you're dumb as much as it is now. Now.

Yeah. And so again, I really understand that impulse to want to talk about it. But I think it would have been artistically more interesting as we're watching Jules make this painting to sort of give it to us in an art form rather than in just saying the thing form. Exactly. I think it makes a lot of sense for this story, and we are primed all season, to understand that Rue's story is probably not going to end super well. Yeah. The stories of addicts is a story of struggle and oftentimes of reliance. of relapse, of falling it back into bad habits and self-destructive spirals, of ending up in a book like Ali's book, right?

Like, there's so many tragic ends here and so much tragic potential that that was probably what was going to happen to Rue. So, like, that part of it is fine for me. I'm actually kind of glad that that's the ending. Yeah. Like, not that I'm glad that Rue die, but I think it's an honest ending for this character. Especially for a character who spends so much time running and running and running from every problem. and just to like basically run out of road and it just finally caught up to her in the end

like that does feel completely honest to ruin the story that Euphoria has been trying to tell. I just think, yeah, all the messaging by the end, especially through Ali and his voice, is so much like not in the DNA of the show to begin with. When you contrast season one to now, not only are they different shows tonally and structurally in terms of genres,

it really feels more than ever. Like they had to invent a whole other show just to get to this endpoint. And I'm just like not buying it. And it's also not. really what I signed up for. I do think that the Rue ending, I think there's an elegance in the design of this very tragic ending for this character where, you know, Alamo intelligently, with a classic

slide of hand, I'll take one, you'll take one, we'll be fine, but I'll give you this bottle sort of thing. And watching Rue look at that bottle and look at that bottle and knowing, inevitably, what she's going, even if, even if, like, those of us watching it are worried that there is poison in that bottle, knowing what Rue is inevitably going to do time and time again, because she is, has an illness, is, you know, this slow motion tragedy, you know, it's watching a bullet in slow time head towards someone. And I thought that was really effective. Unquestionably. And those moments, and all of the Roo stuff in general, if you just want to, like,

chalk it up to runtime, is dwarfed by, not. and drug dealers and revenge shootouts. It's like having a scene staged in the name of Rue is not the same as Rube being there. And the fact that we get to the end game of what euphoria is, if this is the end of all euphoria and Maddie is sitting on the floor, Rue is dead, Nate is dead, Cassie is not involved, Lexi is not involved. Like, what show are we watching? Right.

And it's only by virtue of Ali's sort of emotional movement inside of that scene. I, you know, I turned to you while we were watching it. It was like 30 minutes in and we were still doing like Nazi shootout stuff. And I was like, we could have spent any minute of this time with Jules and we didn't. Before we started, I asked for last minute predictions and I asked you how many scenes you thought Jules is going to be in. And you said 1.5. And I think you, if we count the bike flashback. Yeah, that's the point five.

You nailed it. I fucking hate that I nailed it. Absolutely. I'm so mad about the Jules stuff. And then 45 minutes in, Rue is. dead. 45 minutes into this finale, which is, you know, 90 plus minutes, Rue is dead.

I thought that was an interesting choice to make. Like when do you, knowing that, I have to imagine that. They ran out of shooting days with Zendaya? I have to imagine that Jacob Alorti and Zendaya both said, okay, we'll come back for this season. Yeah. But much like Harrison Ford playing Han Solo again, they're like, you got to kill us. So there's no chance you can try to ask us.

to come back for season four if a season four happens. And in that Esquire article, Sam Levinson does say, never say never about a season four. But so if Zendaya's like, you've got to kill me,

then the math you're doing at home if you're Sam Levinson and his team is how early in this finale can we kill Rue and still have an interesting story to tell? How do you feel like they executed it?

Not well. I think the stuff involving Rue as you've mentioned mostly worked for, me. Everything else did not, including, like, if it's not going to be about Rue, so much of the season has been about Cassie and Cassie and Maddie,

and they're barely in this episode. Let's talk about the Cassie ending really quickly. Because I actually quite liked it artistically, even if I... So what worked for you? Okay. I thought, I did think the ringlight halo around her was funny

and fun, and I liked it. In the diner scene between Maddie and Cassie, like I'm not sure I buy this whole like they're the loves of each other's lives, their relationship is the love story of the season, like any of that. I don't really buy it. But the choice to have one of my favorite songs, Roy Orbison's In Dreams playing while she's slathering French toast in syrup and thinking about... For the record, I think that's like a normal amount of syrup. You and I wildly differ on syrup. I think it's disgusting. But like the foley on the syrup was meant to make it

It sounds like too sickly, too sticky, like incorrect. So like this, this like sticky sweet idea she had of what her future would be. And then we wind up this floating camera out of the house and it looks like a doll house. And she looks like a doll trapped in a doll house. Artistically, I thought that was pretty interesting. On the behind the, in the behind the episode video when Maude Apatow, is talking about that scene between Lexi and Cassie and talking about how they have a failure

to emotionally connect, did that dramatically work for you? Watching two people fail to emotionally connect work for you. This is like when you're trying to show characters on screen that don't have chemistry, and it's like part of the plot that they don't have chemistry. Like I'm talking about you materialists, for example. It's like it's a tough hang sometimes.

It's a scene. Materialist catching strays on a, on a, euphoria Sunday. The scene goes on and on of these two people who just aren't on the same wavelength whatsoever. We've known that since season one. This is not a revelation. And so the idea that at the end of their journeys of season three, Lexi is trying to honestly reach out and communicate something with Cassie about Rue and about loss and about reading the Bible.

And reaching for a sense of purpose and a way to continue on just in life. And Cassie, I think, one, probably isn't equipped to handle all that period. And then two, in this moment is putting on like stone face smile. I swear everything is okay. like facade on facade. It might come back at some point. I'm cleaning this dildo. It's fine.

It's fine. It's fine. It's fine. It kind of works within the structure of those characters. But is it a good scene to watch? Is it an engaging scene to watch? Does it feel like we're paying off a season or three seasons worth of character? I can't say I felt that way.

I think it's a real failure for Lexi. And this season has been a failure for Lexi. Because like the whole L.A. Knights, Sharon Stone's story, like what, it felt like we were spinning our wheels. Similarly with Jules and her like, that we were just, and Nate and the housing development. Like all of those stories just felt like a reason to check in on these characters, but not an actual story with resolution for them.

I found Hunter Schaefer's performance as Jules, and I thought the painting was like very poignant, and Hunter Schaefer talked about the act of creating that painting herself as an artist, but she's just still there with her sugar daddy, and I'm like, what was her emotional journey in this episode is just her grief about Rue. And that is important to me, but I don't know what it tells me about where we're leaving her. And what her life, what is her decision going forward? Is she on a healthy track? Is she on an unhealthy track? I'm not sure. I genuinely don't know who she is at this point in life. We barely spend any time with her. And I found it endlessly frustrating throughout the season, hoping that, okay, maybe if something dramatic happens in the finale or the

penultimate episode, we'll get to spend more time with Jules. And we just now, never did. And I feel like it's so damning that if you take out every single jewel scene of this season, it changes nothing. Not a single plot point, not a single bit of character. Like, she means nothing to anyone in season three of Euphoria. And that's heartbreaking for one of the core characters of the story. Very similar. I mean, I would say the same thing for Lexi, other than like circumstances of the plot, you know, move some things in certain directions. She's like getting Cassie on TV and involved in that process. But yeah, Jules, you know, and Nate is again a plot device more than a character.

this season. And so, yeah, the decision that Sam Levinson made to dedicate so much of this season to the Alamo versus the Nazis storyline is boggling. To me, when you have incredible actors playing incredible characters that we have a deep emotional investment in, it is extremely strange for us to spend so much time on, I don't give a shit that Lori jumped off a building at all. Sorry, I don't. I really have no connection to it. I don't give a single shit about anything that happens to any of the Nazis. Fay lives, great.

Like, does she deserve to? I don't know who deserves. But, like, I just, I am just shocked and surprised that we wound up here. I don't know. I kept waiting for the season to realize it was dwelling on the wrong corners, you know? I think the Lori stuff in this episode is a great example of that. Where it's like, technically, okay, we're building tension. We're getting this, like, rising mounting confrontation between the DEA

and Alamo's gang and Lori's gang all in one place. I'm kind of feeling like just the physical exhilaration of a set piece, but I don't care about any of it. And it feels so far afield of all this stuff I do care about. It's like a thrash metal concert was going on, and they stopped and they're like, let's do a clarinet solo in the middle of this for absolutely no reason. I don't know why this is happening.

I don't know what I'm meant to feel when Laurie kills herself other than I guess a sense of like almost she didn't have to do, that because they don't actually have any drugs there. They just have fake drugs and no money. Just laxatives. So on your hit list this evening is the film materialist and clarinet music. Only those at thrash metal shows. But you're a symphony guy.

It's how you got your famous posture. If you stop a symphony for a thrash metal guitar solo, the same concept applies. I just don't understand what one has to do with the other. Put some respect on the woodwinds. That's all I have to say about that. on the Can you ask you a Jules question before I move on from Jules though?

Please. Because I fear this is the last We're ever going to speak to Jules. Who do you think had more screen time in this episode or in the season? Kitty's BBL? That's literally what I was going to ask. Kitty's BBL or Jules?

I think it was the BBL. Kitty's BBL gets like a walk and talk, some close-ups, legit reaction shots. I just don't even know what to do. What are we doing here? Absolutely. Come on.

Um, the last thing on the Nazi shootout, another baffling moment for me. Something they got a genuine laugh from us in the room. Yeah. Was when the DEA agent said, I can't wait to nail these motherfuckers to the cross. I at least, that's euphoria being cute. And I'm okay with euphoria being cute. But what was with the Nazi who's not Wayne with the long sort of the like... That's Nazi number three. Jesus looking Nazi. Right.

Like, who had like a bloody sort of crown and like, I was like, are we doing Jesus image? imagery for a Nazi? Is that what we're doing here in this moment? Why wouldn't you? Okay, let's talk about the other major religious sort of figure, the Moses of it all. Okay. The theory that people had in comparing Rue to Moses is that Rue would somehow lead the girls out of the strip club to the promised land. But as it says in the Bible, Moses does not get to go to the promised land.

Would you say, are the transitive property in Ali? sort of eliminating Alamo and freeing whatever girls want to leave if they want to leave. Kitty takes her BBL on the road, it seems like. That kind of Rue did that to a certain degree. The let my people go is to let the strippers out of the silver slipper? Yeah. No, I don't. I don't think that works.

Not to know but you, but absolutely not. It's not the rule of podcasting. So the address on the homestead is Jerusalem Road 6. 13, which a number of our listeners wrote in, you know, we were trying to make it like a John 316 thing. And they're like, well, first of all, 613 or 613 is a very important side of the Jewish faith. But I think our listener, Stephen really nailed it because he said Exodus 613 is when God commanded Moses to lead the Israelites out of Egypt. This is, and I quote, why not quote the Bible here at the euphoria finale? The new Bible or the old one? It's definitely Michael York's Bible.

And the Lord spake unto Moses and unto Aaron and gave them a charge unto the children of Israel and unto Pharaoh King of Egypt to bring the children of Israel out of the land of Egypt. So the story of Moses is that he angers God in a complicated rock and water-based event. As one does. And does not get to go to the promised land. And it is this concept that Mallory and I talk about all the time on House of Ar when we talk about our Bible, which is Lord of the Rings, when Frodo said, I saved the Shire, but not for me. Right. So Moses leads the people out to the promised land, but not for him.

So Frodo is Rue? And Jesus and Moses and all things at once. But like, is this interesting to you? Does the Moses, like, did Rue make a Moses level error in taking the fentanyl? Is that what we're meant to think? Or are we stretching this to the breaking point? and we should just move on. I think we are stretching it to the breaking point.

But as we discussed previously, I think that is part of the text of the show, is the idea that, to be honest, it's one of the things that we do best as humans, which is interpret sometimes seemingly random events and assign them a ton of meaning. Are we guilty of that on the show? Who knows?

Is Rue the cow? The conversation we had about whether Rue was reincarnated as a calf, I'm not so convinced that's not what the show is posturing. I definitely think that's what the show is intimating. Good Lord. that Dahlia's calf is Rue I was legitimately waiting

for the little girl to say and we named her Ruby We named her Ruby And it just never came That's restraint We did it Um Episode one

When Rue wakes up in the homestead And the little girl goes You want a cup of milk Sure, thank you That's the best fucking milk I've ever had It's Dahlia's Thank you Dahlia

Land of Milk and Honey Yeah I think Rue's the cow It's a miracle cow It's a few months old It's been a few months old It's been a few months since Rue died. I think Rue is the cow.

We spent an hour on Nazis and Rue is the cow. Uphoria, colon, an hour on Nazis and Rue is the cow. That's where we wound up here. I don't know. How did the Homestead finale work for you? How did Alie showing up there work for you? I like the structure of it. I like the emotion of it.

I like Coleman Domingo's performance, as always. Do we need Zendaya superimposed back in as a vision at the end? Not exactly. I like enough of, like, you know, the shot of, for example, like the table being set with Ali outside, out the window in the background. I heard you make a, like, John Ford noise as you were dying on your computer. I don't even want to know what that noise is, but I'm probably guilty of it. And so, as usual, like, cinematically, I like a lot of what euphoria is doing. Emotionally, I like some of what it's doing.

And in terms of the larger structure of the story it's trying to tell, I am dumbfounded. Speaking of classic westerns, when we're on the trip to Mexico, we see a number of movies throughout this episode. Everyone likes to watch old movies in the world of euphoria. Everyone's watching old movies on Vizio TVs and pouring big old glasses of Coca-Cola. It's true. Well, we'll talk about the Coca-Cola for sure. That's not how you pour Coca-Cola at all. Anyway, down Mexico way, they're watching the, the,

film Shane, one of the most famous gunslinger movies of all time. You may know it through the movie Logan, which liberally cites Shane, if that's your point of reference. But the scene we get is where the young boy, Jody, I think, is asking Shane to teach him how to shoot, right? And right after, like pretty soon after that, Shane has his most famous monologue about what a gun is. He says, a gun is a tool, no better or worse than any other tool, an axe, a shovel, or anything. A gun is as good, or as bad as the man using it, remembered that we'd all be better off if there wasn't a single gun in this valley, including yours. You're thinking about Logan right now.

No more guns in the valley. What am I not thinking about Logan? Peace in the valley. And then at the end of Shane, it's very similar to Frodo and Moses. Shane brings peace to the valley. This is a more Hobbit Forward podcast than I was expecting. But that's on me. That's what I'm saying.

That's my fault. But Shane rides off, sort of slumped in his. saddle and you can decide for yourself whether or not he made it out alive. But basically, he saves the valley, but not for himself. Right. So this idea of Ali being there, I really like your interpretation of like, it's not about getting the sex workers out of, of the club. It's about maybe rescuing Ali from... That's what it feels like to me. This sort of hamster wheel he was on of, like, you know, trying to prostrate himself in front of, throw his body in front of all of these young people who are using

and it failing again and again and again. So is there something better he can do? I don't know if better he can do is shooting up a strip club, but is better he can do find some peace for himself at the end of the day. Yeah. What do you think? That feels in many cases like the healthiest and most hopeful outcome for any character on this show.

the idea that they could have a sense of closure of moving on. And it's one thing you and I have been talking about throughout the season as far as like, Will Rue get that sort of opportunity? Clearly that wasn't in the cards for her. But it could be for Ali, someone who has already come to terms with so much more of who he is and what he has done and what he's capable of in like the deepest, darkest parts of himself and tried to reconcile that out of other people unsuccessfully, time and time again. Levinson and his team have said that they were hoping this would be an uplifting finale.

Does it feel uplifting to you? That there is hope alongside an hour of Nazis and a BBL. Well, let's talk about who there would be hope for because Rue is dead. Nate is dead. But has Rue found peace? When Ali finds her on the couch

and he's like, may God give her peace, you know? And the way that her death is depicted, there is the gasping sounds of her dying that is so horrifying and hard for us to watch. but in those moments inside of her own interior life, she is united with her mother, that there is peace there for her. Does that work for you?

Or you're like, no, thank you. I found that moment to be very affecting and really striking. Yeah, like reaching into the dark for her mother, for salvation, for hope, like on all these couch of all places. Like, that part did work. But if the symbol of hope is,

in fentanyl overdose. That doesn't feel consistent with what the rest of the episode is saying. I don't think the symbol of hope is fentanyl overdose, but the symbol of hope is finding peace for some people in their own way. Look, the show is clearly concerned with that. It's clearly concerned with the idea of, like, how do you move on from tragic things? Like, what Lexi says about reading the Bible, I'm sure you could superimpose about a lot of the people who are working on the show and have now suffered this kind of tragic loss, both within the show and just elsewhere in their lives. and like, how do you pick up the pieces?

How do you keep putting one foot in front of the other? It's part of the text of the show. I'm just like, I feel the whiplash of everything euphoria has been to get to this point. Oh, it's a completely different show, as you said. It's a completely different show, but it does itself no favors in this finale. Oh, reminding us. It's like, here's a flashback from season one. Even Jules's painting, it's like very much like, like, uh, Roo on the bed kind of like strewn about in one of these, like, hazy moments.

And it's like, if you just keep bringing us back to that, that place in the way that finale's often do. You're begging a comparison that does not do this season any favors, and I think only serves to contrast how much this show does not pay off that show. Our listener, Sydney, emailed us to Maddie's number one boy at gmail.com.

The title of the email is distracted by the allure of parkour. And Sydney wrote, just finished the finale and can't believe I didn't notice Rue's red overdose sweatshirt and the obvious hallucination because I was too distracted by the possibility of Fescoe parkoring at of jail. I was really glad. Glad is not the word, but to have the hoodie back inside of this

episode felt important. The visions that we see of her father. And I thought, you know, Cassie bringing up her father. Like, those connective tissue moments back to the first season, I thought were, I don't know, they worked on me. That was maybe the most human moment we've had from Cassie in a long time. Yeah, yeah. Our listener, Trish wrote in to say, looks like Bishop is Maddie's number, one boy actually. I guess. So here's my question. Here's my question for you.

Does bishops turn here make sense? Was it tipped for us in any way before this episode? You know, earlier in the episode, a few minutes before he decides to turn an alamo, who he has been nothing but a loyal foot soldier too, I think, all season. Maddie says, you know what I would find surprising a little grace in this world. And I was wondering if in that moment he was like, I can provide that for you somehow. Right. I think it was like pretty clear for people who know the visual language of cinema that like he handed him an empty gun.

Like all of that sort of stuff. I did like the splashing of the bullets into the blood-soaked carpet. I didn't. I liked it as a, I mean, he's not doing it for us. He's doing it for Ali. Like, please don't shoot me. I took the bullets out of the gun. Yeah.

But I just like the visual of it. And specifically, again, like that sinking sensation of the bullets into this like, I can only imagine what fluids are in that carpet other than the blood of this moment. But I did enjoy it. But, you know, some viewers pointed out that when he's in the car with Maddie and Snowflake, that that's the first time we see Bishop smile all season. So this is a classic crime story trope. henchmen terms on crime boss because of a girl or, you know, a soft spot for something. Yeah. She's just not, she's not just a girl.

The girl. Thank you. The girl of girls. But. Before I may not know it, but we know it. That wasn't seated at all. And so it makes his turn confusing. I mean, they had, I believe, one, maybe two previous conversations.

Right. And it was like the start of a like a kind of a mutual respect, right? You could see kind of developing between them. but there's no connective tissue. This is flashed a couple months in the future, so I guess you can kind of fill in the gaps. Absolutely, but instead of following Kitty's BBL through the club, could we have gotten a montage of like Maddie getting the envelope

going to the club again and again and again? And like her relationship with Bishop developing over those three months to the point where when he turns in his incredible coat, we should not neglect the coat, it makes a bit more sense, you know? Even if we're just getting those scenes and you're seeing like Bishop observe, right? It's like he could be a third party kind of like clocking and understanding as he's been all season calculating what's happening in front of him. He doesn't even have to have a deep emotional relationship with Maddie, but some backgrounding as far as why this would happen.

Is there anything in other than the way he poured Coke, anything that Alamo does in this episode, his monologue about the American Dream or any of that, did any of that impact you at all? I mean, define impact. Okay. He's going to pull it up. No, like the idea of like, oh, I had an epiphany, and Kitty spread her legs, and I stared into, I apologize as in advance, The Void. Uh-huh.

No, this did not work for me. This felt like, as unfortunately has happened many times with this character and throughout this season, like a shaky monologue ripped from a much lesser show. So the Coke of it all. Why do we get so much coke in this episode? I genuinely don't know. Is it an American Dream kind of? That's what I was thinking.

It's Americana, American Droner. It is, you know, it is a helpful signal inside of the switched ambulance moment, that Coke bottle earlier in the episode. So the American Dream is what unites drug dealers, strip club owners, and Nazis. What a lead into this email I'm about to read from our listener, Amanda. It's quite long. Buckle up. I'm going to read the whole thing because it's very good. Okay.

Amanda sent this in before the finale. She said, Euphoria Season 3, and it's built off the email we read last week about sort of the crumbling American Dream and what Euphoria has to say about that. Euphoria Season 3 positions itself as a grotesque elegy for the American dream and the death of Americana, portraying a nation spiritually and structurally collapsing beneath the weight

of excess, exploitation, and illusion. Through imagery of drug epidemics, performative wealth, hypersexualized, influencer culture, and nostalgic Americana aesthetics, the season reframes contemporary America as a parody of itself, a country obsessed with freedom, prosperity, reinvention,

and image, while simultaneously consumed by fraud, addiction, violence, and moral exhaustion. The series suggests that the American youth are not simply lost, but instead inherit a culture already hollowed out where identity is commodified, intimacy is transactional, and survival depends, more on performance than authenticity. And then she goes on to talk about sort of like the symbols of Christianity and America, you know, we see not only the tattered sort of American flag that we get at the homestead at the end of the episode, but there's an American flag hanging from the mirror of the ambulance, you know, that Eddie and the other Nazi number four, I think, are, Mitch, are driving.

What do you, I mean, again, I think when our listeners write in with these kinds of emails, they're talking about a better show than Euphoria actually is. But what do you think? Having just read this email from her, from Amanda, I think it's very astute. When the Coke bottle show up, I'm like, sure. the Coke bottles are here. That makes sense to me. I mean, once we're starting by white picket fences, like, we are tying all the threads

together. And frankly, I think Ali's speech in the middle of this episode about, like, empathy and how really the problem is we've just, like, lost track of what is right. Yeah. I mean, just like intellectually, I would argue maybe we never had it and we've just convinced ourselves that every time 50 years ago we did, that's neither here nor there. I think Yvore is clearly obsessed with this idea in this season. I don't know that seasons one or two really cared it about it at all, other than the, like, it's 9 p.m.

Do you know what your teenagers are doing kind of way? This season is about, we've talked, you know, we've discussed like the young people aging into a sense of hopelessness and a generation that has no opportunity for them. And what is that if not, the complete desolation of the American dream? The idea that like you finally get to the top of your little hill and rather than be able to like put your flag on it

and build your little house, there's just nothing for you there other than maybe it's a dollhouse that now traps you or maybe you're just part of another bigger machine. that is what the show is trying to tap into. I just don't know. Here's the thing. I always agree.

How far down this road have I gone? No, no, no, it's very good. I was just wondering if you were making a far and away reference earlier when you were talking about a flag on top of the hill. If I make a far and away reference, I'm going to put up the dukes. You're going to know what's happening. I think euphoria is at its best when it has a lot to show us. And clearly, some people making this show are under the impression that it's at its best

when it has a lot to, like, shout at us. And I feel shouted at a lot in this finale. Oh, yeah. I mean, it ends with, like, Tiny Tim, God bless us every one. This spring, denim gets a softer, lighter update. Introducing Old Navy's drapey denim wide leg, a new fit that moves with you. It's everything you want denim to feel like for summer. Easy, breathable, and effortlessly cool.

With a fit that creates natural movement and a wide leg that feels modern, not overwhelming. Plus, that signature, wait, for this price? moment. Old Navy's drapeed denim wide leg. From Rue, like, astounding. I do want to circle back and talk about the title. This is usually something I do at the top of the episode, but I thought we should like talk about our thoughts and feelings before I got in the weeds here. But the episode is called In God We Trust, which is on our money.

Yeah. And do you know the history of In God We Trust? I look this up before the finale aired. Joanna Robinson, ladies and gentlemen. So this is the Commod of Ciccated. of faith, right? Like, that's what in God we trust is. Yes.

Dates back to the Civil War. When the Union, like, worried that the Confederacy looked like the more God-fearing side of the war, started putting in God we trust on the money to say, like, no, we believe in God. That was on the coins when it wound up on the paper money and as our national, like, I don't know, what do you call it, motto. That's the word I want. I was going to say catchphrase.

That's not what I'm talking about. It kind of is our catchphrase, though. Which used to be e pluribus unum from many one, which is great. It's the 1950s, the Eisenhower administration, is what put in God we trust on our paper money. Because guess what? They lost track of what was right, and they needed to be set straight. It was during the Cold War when the atheism of the Soviet Union needed a sort of counter in America. So we put in God we trust on the money.

Here's a quote from the New York Times from 1865. You can only be yourself. I can only be myself. Let us try to carry our religion such as it is in our hearts and not in our pockets, end quote, bars for the New York Times in 1865. I think it's tough for me as an atheist. I'm interested in the questions of faith. I'm interested in the imagery of the Old Testament that was used in this season. I'm interested in the concept of something bigger than yourself and that providing you meaning. it's hard for me how like overtly Christian the ending of this episode felt. That being said, I think in God we trust as an episode title is incredibly good because it circles back to Amanda's email about sort of this idea of like what is America if not taking this universal question of like our place in the universe and who is helping us and who is guiding us and slapping it on our fucking money,

you know, at the end of the day. I just, I am having a hard time understanding what, how, how clarified that message is from the show. Oh, I don't think it is. Like, what is tongue in cheek? Yeah. What is not tongue in cheek? What is an earnest appeal in this very emotional way? I'm curious if you had any of these moments, Joe, where I had one other episode in mind of a very different show during this finale.

And it was the finale of Fargo season five. Did you think about the finale of Fargo season five at all? I'll tell you what I was thinking about. Okay. After you, tell me. If you don't want to hear about the finale of Fargo season five, cover your ears, hit mute. jump forward 30 seconds whatever that's a finale that's like built up and built up and built up only to stop us like dead in our tracks with the confrontation about like people over a dinner

table talking about like what we owe to each other as human beings debt literal yes financial emotional psychological societal debt yeah yeah yeah and in that show it felt like a subversion right this idea like we're going to grind to a halt we're going to we're going to have this talk in a show where you expect somebody to get shot this felt like like a detour in the emotionality of the finale, where it's like it's trying to have this very earnest conversation about the Bible, about

carrying on, about, you know, the role of faith in society and where we have lost our way and like how empathetic should we be into whom? And it just, again, it felt like we just segue into a back alley of a totally different show and just emerged out of like a manhole cover and like, hey, I guess we're here now.

I guess we're watching Nazis shoot people, I suppose. I guess. I just can't with this What do you think is going to happen for your girl Maddie At the end of the day here Nothing good I mean I guess she gets to live not under Alamo's thumb

Here's a question I have for you Cassie and Cassie is talking about how she is in debt So much debt that she doesn't want to sell the house Because it basically wouldn't matter she owes more than that Who does she owe money to? Alamo Does she? Yeah he's taking 20% of

I mean Alamo And then also is the house like over mortgaged? You know what I mean? Like I don't, you know, I don't know. I mean, it's the only answer is Alamo. I guess I was just a little fuzzy after last week as far as who owed what to whom between Cassie and Maddie. So now that it's Cassie Maddie Enterprises. And co.

LLC. Yeah. In which they are now running their own influencer house. That's also a brothel-ish. It seems like it. Yeah. With the caramel carpets and wallpapers. Right.

Which makes you think of sex. naturally. Yeah, I guess they are wed in their own way and therefore one debt's debt becomes the other and they both owe Alamo. I guess in that way Maddie is Scott Free. You know, she doesn't know money's anybody anymore. Right.

Other than Bishop. So do you think they still run their business out of the house or do they do something else? They got to get the fuck out of there. Yeah. But this episode doesn't tell you anything to suggest that Cassie is like ready to get out of the dollhouse she has created.

Like the dream house and the dream she has created. and inhabiting, is just haunting her every second. I don't think she's getting out of there anytime soon. Any other positives that you want to linger on in this episode?

Give me a moment. Yeah, yeah. I'll, please. I'll stall for you. Genuinely, not that there aren't that they aren't there, but sometimes you've got to dig. Yeah, yeah, that's fine.

Anna Van Patton, as Kitty. Yeah. Genuinely quite funny in this episode. Very funny. Like, BBL aside, all of her, like, sort of timid with the almond champagne and all of that. And her in the ambulance as well

got some genuine laughs from us. Definitely. Marshawn Lynch also got a lot of laughs for us in this episode. Maybe the MVP of the season. Every time? No. Okay.

Rejected. Who had a more consistent hit rate? Bang for Buck, sure. Marshawn Lynch, 100% of proof we're rating ever seen he's in. Just like one of the funniest and best parts of the show.

Is he doing what Sunday is doing? No. But I enjoyed him quite a bit. Do you feel like, you know, we got this email from our listener Carly wondering if the Ali shootout in the strip club you know, this circles back to something we've already talked about,

but is that a sort of very, through the lens of Tarantino-esque way for Sam Levinson to process his grief about Angus Cloud? Yeah. Oh, without a doubt. And is that emotionally effective to you at all or not so much? Not particularly, unfortunately. What about seeing Angus Cloud inside of this episode? This, I think, is one of the positives.

I think the footage that they found of Zendaya and Angus Cloud kind of like arm and arm in the field, I did find quite affecting. And look, I think there's a combination of like, once the parkour prison break appears to be happening, there's like a, that's a very funny idea. And also I really hope this isn't real. I really hope we're not turning Fess into like an actual plot point.

Right, right, right. And so the relief of kind of slowly discovering. And I'd be curious to hear from you, like when that moment was for you, where you were realizing, oh, we're tipping from reality, into something maybe in Rue's head, but that we spend that moment

to kind of say goodbye to Rue and to Fez arm and arm. That did do something for me. So it came out of late for me, actually. It was as soon as we saw her mom, like just sitting at the table like that. And then I was like, oh, this isn't real. But it hooked me for a minute because this show is so weird

that I was like, maybe we are on a wacky antic, like, jail break moment. I thought that footage was really emotional. to watch, again, in that Esquire interview, Sam talks about the fact that it was like a film, I believe, at the end of season one, and it was just them testing that Kodak film that they wound up using for later on. It was just sort of like test footage in a field. It wasn't even like a lost scene that they cut or something like that. It was just like, so Zendaya and Angus were just being like themselves and goofy in a field. So that is very like emotional and thinking about.

Completely. The finale that I was thinking about a lot was six feet under, a far superior finale, of course. But Rue in the car sort of, you know, thinking about Lauren Ambrose and the car at the end of six feet under. But looking at the window. And instead of like, you know, looking into the future because in six feet under you can't take a photo of it's already gone, Rue is looking into the past and seeing her younger self, seeing Gia, who we have not seen it all this season. Jules and her .5 scene on the bike. Like, seeing jewels on the bike. Like, I got emotional seeing that. I got emotional seeing the derelict, like, convenience store.

Absolutely. Like that, all of that really worked on me, personally. It did for me, too. I think the combination of, like, you can't go home again with things like the convenience store, but you have to try. Like, you have to keep running. You have to keep going every alley under the police tape, like run as hard and as fast as you can to try to get to the one place you feel safe. That works. And yeah, I think, like, you have to keep. Like most of this stuff with Rue, and here's the thing. If you're going to get one thing right, make it Rue's story in the season three finale.

Like try to nail that stuff down as well as you can. I think they did that stuff pretty well. I just wish it was twice as much screen time. I wish. Or if you want to kill Roo off in the penultimate episode and have the whole episode in the finale, the character's dealing with grief in that we kind of gesture to here, I would appreciate a fuller kind of digression into that. I would like to know how Maddie feels about Ruse death.

Yeah. We don't get to know. Don't get a second of it. Our listener, Laura, wrote in to say the diner scene with Maddie and Cassie is so reminiscent of Mulholland Drive. Blonde and Burnett, two sides of the same coin, Roy Orbison's In Dreams playing in the background. This isn't the only time that Mulholland Drive has been, like, references have been picked up by our listeners as a sort of like tale. I think it was the Gilda reference earlier in the season that our listeners picked up on. So, like, as a tale of a cautionary tale of the Hollywood dream,

like how much does referencing Mala Holland Drive interest you inside of a season of euphoria. It interests me in the way that the larger kind of like tapestry of film references do. And euphoria has always been the kind of show that is drawing from here and there, that is parroting some things overtly, that's commenting on something subtly. Right. It's one of the things I enjoy most about the show is that it does come with like a heavy round of footnotes if you care to dive into them.

Yeah. But it's not selling a finale like this. Like just because you have interesting references, doesn't necessarily mean you're telling an interesting story? Yeah. Anything else you want to say before we get to some of our YouTube questions? Let's hear what people have been chiming in with. Okay.

Lux Ray 1420 wrote, first time, long time. In a post-the-Idle, probably post-Euforia World, what interest level do you have for Sam Levinson's next project? This is where I expose, I guess my own kinks, I would do it again. Even after all this, I would show up for another show. Okay, would you rather? Yeah. Drink the finger water or get, no, I'm just kidding.

Would you rather? I think history has shown you on the wrong side of the finger water versus footstuff divide. I don't know. That's not what I'm hearing from the streets. Well, you can enjoy your flesh-eating bacteria in your brain. Clearly, Maddie, like Maddie letting Alamo play with her feet and then all the, like, when Maddie said, don't wait up, I'll be homely. Yeah.

Devastating. So that's what comes from Lenny Alamo play with your feet, Rob. So I think I'm on the right side of history there. Did you find it narratively interesting at all for like, like, my stance is well articulated on Maddie. Well, I can't believe you hit me with a deep. Did you find his narrative? My move.

Turnabout his fair play. Did you find it narratively interesting at all to find a character as like willful and proud as Maddie reduced to this in the finale, being like the one thing. Dams old. damseled, like, basically being a prostitute in the way she said she would never be. No. I would have liked her to do something in that final shootout to help, you know, Bishop hands in the light gun, you know, the empty gun. Can she, like, trip him at something?

You know what I mean? Like, is there something she can do? Created distraction? To help, you know? Apparently not. What did you think about the one trickle of blood sort of like vampire-like sort of dropping from her mouth in that final scene? Very stylish, ultimately meaningless. Yep.

Okay. So this idea of a post-Euphoria, post-Idle, okay, would you rather, season four of Euphoria, or a completely different new Sam Levinson project? I think what I'm finding is I would have rathered, instead of season three of Euphoria, just make the show that has this messaging that you clearly are invested in telling, a story that makes sense in a different world

and a different package that I just don't think really fit this one. So I'm here for new projects. I'm here for new ideas, rather than kind of like shoehorning your new theme of the week into this old one. What if Sam gives us a Maddie Hesse, Jewel season, a Lexi season, that actually like uses them and doesn't get distracted by Alamo versus the Nazis or whatever else? I don't know if I dare to dream for that anymore. Okay.

But Roy Eberson says in dreams, you should think about it. Our listener, Mike, I think, or Michael, says, I was expecting some narration from Rue at the very end, the final scene, was ellipsies weird. Yeah. How do you feel about the absence of Rue narration, other than the like sort of God blesses everyone moment that we get? But there wasn't, you know, the standard Zendaya

Rue narration inside of this episode. I quite love the usual Zendaya narration in Euphoria. So I do kind of miss it. Yeah. I wouldn't say I noticed it. And to be fair, I think if it had been after her death, it's like a little weird and a little ghoulish and a little like lovely bones for me. So I'm just going to say like after she dies

We don't need any more narration That's not gonna be the only lovely bones reference We make on a podcast this summer I'm not That's so funny I don't know it's very Our Town Like that's positive for me I wouldn't have minded it because then it

kind of would have felt like Rue was narrating the whole series in her omniscient way From like the other side So you wanted like how I met your mother framing For Euphoria How dare you? I said Our Town I referenced the theater

Okay. Not a TV as sitcom that everyone hates the ending of. The absolute relish you put on the theater. Theater. One question I have for the Homestead finale is I wrote her name down as eldest daughter, but the actress's name is Jessica Treska, who plays the eldest daughter on the Homestead, and she gets a lot of like lingering close-ups inside of this finale. She's one of the few characters who gets an Amen.

Some of the... One of my major notes from the first episode, episode was that her face just like definitely looks like she's seen an iPhone. Like she just did not look like she had homestead face. Yeah. She had lip filler. There was like, you know, she's beautiful, beautiful girl. Who would you say has homestead face?

Oh, wow. What a great question. I don't feel like there's a way for me to answer that without insulting the person. I think you should try. What about like Allison Pill? Like a young Allison Pill. I could see that. Yeah.

Definitely. Yeah. If you told me. A beautiful woman. If you put Allison Pill on a homestead instead like she grew up a Quake I'm like, yeah, I believe that. Exactly. So I'm just saying if we're sure, like lingering on the face of what is she supposed to represent?

Innocent America, sheltered America? What is this? What is eldest daughter on the homestead? What if euphoria in its defense is kind of splitting the difference and saying like the lines between this sort of idealistic like heaven like homestead and falling into the sort of hell that Cassie now inhabits is like so porously thin? the idea of like this is a modern looking woman who is living here, but who easily could get pulled into a much more like weird, nefarious, manipulative, like, hedonistic lifestyle.

Her eyebrows are already on fleak, ready to be an influencer, should she choose. You give her a ringlight? Anything could happen. A ringlight halo? Are you going to miss euphoria? This is the thing. I will. Okay.

Are you going to miss it because you're going to miss the show? Are you going to miss hanging out weirdly in a studio with us on a Sunday night? It's hard to differentiate the two. You only will miss that. Like, we have become subject to this, like, Stockholm syndrome of taping this show and doing it together. And it's been so much fun. Yeah. But also, like, I love talking about this show because it is always doing weird, interesting things, even in this finale.

You can't call it boring, you know? Absolutely not. And we've seen enough finalities that are that are just kind of like a wet fart of emotion at the end where it's like not giving you anything at all. This gave you a lot of Nazis, but it did give you something. That's on the quote card. This is the wholly inopportune time to say this, but the hacks finale, which also aired this week, perfection.

I wept through the last two episodes of the season. I love to hear this as someone who was not yet caught up to it. It was so good. And people are like, why are you covering euphoria and not hacks? And I apologize. But hacks wrapped everything up perfect, like textbook perfectly. but Sam Levinson is not looking for tech this is what I'll say about Sam Levinson

I think he wants to provoke I think he wants people agitated and talking about whatever he's making I think he thinks he's both Ali and Jules making like provocative art or whatever the case may be and Sarat with Dix and people are talking about it you know and so he's gotten exactly what he wanted which is people all sort of like stirred up

whether it's positively or negatively the kind folks helping us out today have run a couple polls on the YouTube for us. Satisfied with the finale? No 69% yes, 31%. Okay. Do we want a season four? No 85% yes, 15%. That's harsh.

I hope HBO is not listening. Yeah, I think I would rather a Euphoria season four than a brand new thing, only because you have not experienced the idol. I haven't. You know? I have not. Yeah. That's more about the people involved on screen who I'm just like,

I just, that's a lot. That's a lot of weekending for me. Yeah, give me the idol. I'll throw you the whip. Like, it's a very, it's a very, very bad show. And so I think... I don't know, Chris Ryan says otherwise. By bit or by truth, I don't know, but... Bit. Absolute bit. But Chris is as much bit as man.

Yeah, he's more bit than man now, I think sometimes. But like, listen, I think a euphoria season four with the dream and hope of finding out how Jules is doing and what Maddie's up to is far more intriguing to me. Do you think we're going to get one?

Season three was highly rated and talked about. Do you think HBO will give us a season four if Jacob Allorty and Zendaya cannot show up for it? I'm less optimistic than I was a week ago. Okay. I thought we were kind of leaning in that direction in the run-up to the finale. But seeing where all these characters ended up,

yeah, there's a lot of story you could tell with Cassie and Maddie and Lexi in particular. I don't think Jules is going to be a part of it. I'm not sure to what extent like Hunter Schaefer was ever a part of this season whatsoever. I just don't know how they would pick up the pieces and try to move on if the pieces didn't seem that interesting to them in this finale and were just kind of cast aside. Here's what I'm going to remember from our time with Euphoria.

Most of all. The moment when I was watching this finale and I said out loud, is Roar the Cow. And that just sums up my entire Euphoria Season 3 experience. Is Roo the Cow? It makes you ask questions you know. ever thought you would ask. And I don't want to ask. I don't want Rood to be reincarnated as Dahlia's calf on the homestead.

I really don't. And here we are. Great work from Zendaya in this episode. Yes. Great work from you on this podcast. Anything else you want to say about Euphoria? I just want to say, we kind of grazed by this when we're talking about Jules. Is that a cow pun?

Because Rue is a cow now. Unfortunately so, we're all cows now. I just thought everything with Sam Tremel this season was so weird. Jules is barely a featured character in the show. We get this whole introduction to him in her kind of like backstory catch-up prologue. And then here, he just like breezes by through the finale, like pour a cup of coffee.

Remember how Sharon Stone was in this season of television? Natasha Leone? Where was Eli Roth? Did we figure it out? I think he might, correct us if we're wrong, if we ever talk about you for you again. But he might have been in the earlier Cassie, like her media blitz that she did.

sort of like earlier in the season. Oh, like as a podcaster? Yeah, I don't know. How do you feel about that? Oh, great. They're trying to figure out what a podcaster is. Yeah, and it's Trish Phaetus and Eli Roth. But I don't recall Eli Roth appearing in a memorable way this season,

despite the promise of Eli Roth. I, nor do I. I have one remaining question for you. Please. What if we had ended this finale instead of on the homestead, or maybe it's in the homestead, but laid over the top? With a clarinet concert? See, I was thinking more, we finally do get Dominic Fy

walking back in for an encore performance of Little Star to close it out. You were waiting the whole time for Little Star. I was kind of hoping for it. But never came. What if he just like pan over to him on the homestead and him like a banjo version of Little Star? Oh yes. Yeah. Rockabilly, a little star. Yeah, yeah, yeah.

Sam Lemon said it's not too late to call a Tonic Mike and get in the finale. I wouldn't mind. I was thinking a lot about, you know, we did get a question from one of our listener in the YouTube comments about the Hans Zimmer score. Where are we on that at the end of the day? And I was distracted watching this finale, thinking about what the labyrinth score could do for moments like Maddie walking towards that room with Alamo or Rue back home. You know, I was thinking a lot about the labyrinth music. And I just think the Hans Zimmer felt like a, like, in that sort of dreamy strings sort of way, I understand it.

But like, it didn't, it wasn't additive. And certainly not worth getting someone the caliber of Hans Zimmer and or the people who work for Hans Zimmer. to do it. I almost overwhelmingly agree with you. And look, we've taken our shots at the score of this season over the course of it. In particular, I'm remembering one of the scenes in which the henchmen was chasing Nate around and it was like the most creative commons comedy music you could possibly imagine. It hasn't been good.

But during this episode, when we're getting that very emotional rue reaching into the darkness, I pulled at my phone and I'm like, I'm not familiar with this like coral suite that's playing. Like, it feels evocative of like an Ave Maria, but I'm not quite familiar with this piece of music. What is it? It is an original composition by Hans Zimmer for the show. And so it's like there were these moments where it's like, oh, this is a great scene setting, emotionally tying piece of music that is working here.

Did it feel over the course of the entire season like Euphoria? Not exactly. I'm fine with reinvention. I'm fine with finding a new tone. I just don't know that the music ever quite got there on balance. A final musical note. And this is in honor of our producer, Dev, who is not, with us here, but did text us to comment on the use of Ebony and Ivory when Eddie and Mitch

are at the border. And if that's not Euphoria season three, I don't know what is. I'm fine with the show being cute. That honestly, one of the higher water marks for this episode. Give me Roy Overson every time. All right. Thank you to everyone here who made this live stream happen. Like most of our team is on their way to Sweden right now.

Also thanks to everyone who stayed behind to make the euphoria finale happen. Thanks to Jacob Cornett, to Jamie Yucic, to everyone here at Sycamore. Anyone else you want to thank, Rob Mahoney. Thanks, Sam Levinson. The Bible. Snowflake. Moses. Of course.

Dahlia. Come on. The cow named Roo. Or Ruby. Clearing up players everywhere. And thank you, Joe. And not you, the materialist. All right.

Let's you see him. Bye. Hey, y'all. It's Kelly Clarkson with Wayfair. Ever order furniture online and wonder what if, like, what if it doesn't hold up? That sofa was four days old. You should have ordered from Wayfair. With Wayfair, there's no what-eif.

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