{"id":2089,"date":"2026-06-18T20:07:07","date_gmt":"2026-06-18T20:07:07","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=2089"},"modified":"2026-06-18T20:07:07","modified_gmt":"2026-06-18T20:07:07","slug":"awards-chatter-euphoria-creator-sam-levinson-on-addiction-social-media-mobs-nick-reiner-and-going-out-on-top","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=2089","title":{"rendered":"\u2018Awards Chatter\u2019: \u2018Euphoria\u2019 Creator Sam Levinson on Addiction, \u201cSocial Media Mobs,\u201d Nick Reiner and \u201cGoing Out on Top\u201d"},"content":{"rendered":"<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\nSam Levinson, the second-generation writer and director, has been the primary creative force behind some of the most envelope-pushing and polarizing\u00a0small- and big-screen projects of the past decade, including the films <em>Assassination Nation<\/em> and <em>Malcolm and Marie<\/em> and the TV series <em>The Idol<\/em> and, most famously, <em>Euphoria<\/em>, the Emmy-winning HBO drama series about the troubles of a group of young people in present-day America, which recently wrapped its third and final season.<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=2087\">David Sheiner, One of the Poker Players in \u2018The Odd Couple\u2019 Movie, Dies at 98<\/a><\/p>\n<p><iframe allowfullscreen=\"true\" class=\"pmc-protected-embed\" frameborder=\"0\" height=\"200\" id=\"pmc-protected-embed-2\" loading=\"lazy\" scrolling=\"no\" src=\"https:\/\/playlist.megaphone.fm?e=PMC2476067903\" width=\"100%\"><\/iframe><\/p>\n<p>\n\tThe 41-year-old created <em>Euphoria<\/em> back in 2019; cast as its lead Zendaya, an actress theretofore known for a Disney Channel series and family films; surrounded her with little-known young actors who have since exploded only Hollywood\u2019s A-list alongside her, including Jacob Elordi and Sydney Sweeney; and served as its showrunner for its entire run, while also writing all of its 26 episodes (only one with a collaborator) and directing 23 of them.<\/p>\n<p>\n\tOver the course of a conversation at the L.A. offices of <em>The Hollywood Reporter<\/em>, Levinson candidly reflected on how his own battle with addiction shaped the show; what he made of the fiery discussions and debates about his handling of <em>Euphoria<\/em> and <em>The Idol<\/em>, which he followed on social media; how several real-life tragedies shaped the denouement of <em>Euphoria<\/em>; why he sees today\u2019s society metaphorically \u2014\u00a0and depicted it literally in <em>Euphoria<\/em>\u2019s final season \u2014\u00a0as a wild west, of sorts; plus more.<\/p>\n<p>\n\tYou can listen to the full conversation via the audio player above or read excerpts of it \u2014 lightly edited for clarity and\/or brevity \u2014 below.<\/p>\n<p>\n<strong><em>On the roots of his own substance and addiction problems, and how it impacted his own high school experience \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cFrom a very early age, I\u2019d have extreme anxiety, panic attacks, things of that sort, also obsessive compulsive disorder. \u2026 When I was about 11, I got taken to a doctor who started prescribing me a lot of different medication, I think maybe a little too much medication, and I was taken out of sixth grade for a period of time because of all of the side effects and stuff. So I started to get a little more withdrawn, and then I started kind of experimenting with the pills on my own. I would say, \u2018Well, what happens if you take three of these instead of the other ones?\u2019 Then I had a seizure when I was 11 from taking too many of them and ended up in a psychiatric hospital for quite a while. I remember my mom said to me when she dropped me off, \u2018Remember the characters and the stories.\u2019 \u2026 That was the beginning, and then I continued to experiment with drugs and ended up getting addicted to opiates when I was about 13, 14. I went to a couple of different high schools in ninth grade and I got kicked out. I went to another high school for kids who\u2019d been kicked out of high schools, and then got kicked out of that high school. Then I did a form of homeschooling, and also I went to an arts magnet school in New Haven, Connecticut, which was really wonderful. I studied printmaking and photography and writing. And so it was a very unusual high school experience, certainly not the traditional one.\u201d<\/p>\n<p>\n<strong><em>On Nick Reiner, the son of another famous filmmaker who also had addiction issues, but was unable to conquer them, allegedly resulting in the murders of his parents, Rob and Michelle \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI knew Rob and Michelle, and [Rob] called me after the first season \u2014\u00a0he was very moved by the first season. Look, I think that when you\u2019re doing drugs today, you don\u2019t know what you\u2019re taking. The drug world today is very different from how it was, and I think we see it across the country, where just one pill, one thing, could forever alter your brain chemistry, and there\u2019s no coming back from that. It was just a horrific tragedy. Man, it\u2019s hard to even talk about, to be honest.\u201d<\/p>\n<p>\n<strong><em>On the origin of <\/em>Euphoria <em>\u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cWhen I went into HBO, it was for a general meeting with Christine Kim [original programming]. She had read the script to <em>Assassination Nation<\/em> \u2014\u00a0it was before I had gone to shoot it \u2014 and while I was there talking to her, she said, \u2018We got the rights of this Israeli format called <em>Euphoria<\/em>.\u2019 I remember thinking, \u2018That\u2019s a great title.\u2019 And so she said, \u2018Well, we\u2019ll send it to you and just see what you think.\u2019 So I went back and I watched it, and it\u2019s sort of the Israeli version of <em>Kids<\/em>, is the best way I can describe it. It\u2019s a wonderful series. But I didn\u2019t necessarily know what they were expecting from it, or how faithful of an adaptation do you write. I go back in to meet with Francesca Orsi, who was the co-head of drama at the time, and I sit down and we just start talking, and we\u2019re talking about life and about addiction. \u2026 I was very open with her, and she said, \u2018Well, great, go write that.\u2019 And I said, \u2018What?\u2019 She goes, \u2018Everything we talked about.\u2019 I said, \u2018Well, OK, but how does it connect to <em>Euphoria<\/em>?\u2019 She says, \u2018I don\u2019t know, you figure that out.\u2019 And I said, \u2018Well, what do you like about it?\u2019 She goes, \u2018I just like how raw it is.\u2019 I said, \u2018Great. OK. So I should just write whatever I \u2026\u2019 She said, \u2018Yeah, just everything we were talking about, just put that in the script.\u2019 I said, \u2018OK.\u2019 And I\u2019m walking out the door and she says, \u2018Oh, can you do it really cheap?\u2019 I said, \u2018What do you mean?\u2019 She\u2019s like, \u2018I don\u2019t know, $2 million an episode.\u2019 I said, \u2018Sure, no problem.\u2019 And I walked out and thought, \u2018Wow, I think I just got a job writing a pilot for HBO.\u2019 So I go back home to New York. My wife, Ash, and I, just had a baby, our son, and I\u2019m sitting there and I\u2019m going, \u2018OK, I\u2019m writing a pilot for HBO, what do I do? Do I write the real version of it? Do I pull punches?\u2019 And I\u2019m thinking back to HBO when I was younger, and <em>Oz<\/em> and <em>Sopranos<\/em> and all of these shows that really kind of pushed the limits of what was allowed on TV, and characters that were dark and evil at times, and I thought, \u2018There\u2019s no sense in trying to play it safe here and write something that\u2019s kind of down the middle. I ought to just go for something that feels honest and truthful, but also something I know hasn\u2019t really been put on TV before.\u2019 Because the worst that can happen is at least it gets their attention and they say, \u2018OK, well, why don\u2019t you pull back A, B and C?\u2019\u201d<\/p>\n<p>\n<strong><em>On his creative philosophy and who is allowed to tell which stories \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI think that it\u2019s the job of the writer to give a piece of themselves to their characters, \u2026 You take your life experiences and maybe the hardships and the things you\u2019ve gone through, and you try to put it into something that can transform it, so you can take the darkness of your own life and transform it into something that begets light. At least that\u2019s how I view creativity and filmmaking. So in creating a character like Jules, who\u2019s trans and new in town, I took, for instance, some of what I just told you about being in a psychiatric hospital at the age of 11, and I gave it to that character, and I mean everything down to the suicide attempts with the ginger ale can \u2014\u00a0that\u2019s all real \u2014\u00a0and the knife scene in the kitchen. A character like Ali, Colman Domingo, was based in part on a sponsor that I had and a counselor that I had who helped get me clean, and helped kind of point out to me in various ways how I wasn\u2019t the person that I wanted to be. There\u2019s a lot of talk about, \u2018How do you write diverse characters and how do you understand someone else\u2019s experience?\u2019 I think it just boils down to, if you\u2019re giving them a piece of yourself and building upon it, it creates an authenticity and an emotional sort of anchor that allows for that character to be real and three dimensional and human, so I do it with every single character I write. And then when I cast an actor, I sit down, I talk to them \u2014\u00a0I talk to them about the character, I talk to them about their own life \u2014\u00a0 and then I go back and do another revision on that character and try to bridge a little bit of the gap between the character and the actor so that they also have a sense of ownership over that character and they want to protect that character. I think that\u2019s the beauty of filmmaking, is, it\u2019s this collaboration between writer, director, actors, crew, camera, grip, electric. Everyone is there from all of these different backgrounds, and you\u2019re bumping up against each other and figuring out how to tell a universal story. \u2026 I think that it\u2019s imperative that artists feel free to express themselves and to work towards a certain universality, whether that comes from specificity, and the specificity is what makes it universal, or however they get there. But I think that a lot of these debates and conversations have resulted in artists and writers feeling fearful about, \u2018What can I do? What can I say? What can I write?\u2019 And I think that that\u2019s the death of creativity and it\u2019s the death of the entertainment industry. I think you have to approach it with a fearlessness and a boldness, and just let the chips fall where they do.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=2085\">Spike Lee, Timoth\u00e9e Chalamet and All the Stars Spotted at the New York Knicks Ticker-Tape Parade<\/a><\/p>\n<p>\n<strong><em>On making highly sexual shows \u2014 <\/em>Euphoria<em> and <\/em>The Idol<em> \u2014 in the immediate aftermath of the Harvey Weinstein revelations and the Me Too movement \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cIt\u2019s obviously not the easy route. I knew that I would catch flack for some of the scenes in this show [<em>Euphoria<\/em>] and others. But at the same time, I believe that I have a responsibility as a writer and a filmmaker to reflect the world as it is. And Me Too aside, if you look at where the internet has gone over the last 15 years, it is further and further toward exploitation and sexuality, and it has only gotten more normalized, so to duck that massive trend that\u2019s happening in culture felt like a cop out. I thought, \u2018OK, well, this is the world that people are growing up in now, and if I\u2019m going to be honest and truthful, then I\u2019m going to lean into it. And I\u2019m going to know how I run a set and know how I work as a collaborator, and know that there\u2019s a difference between what I write and who I am, and also know that people are going to conflate the two, and be OK with that.\u2019\u201d<\/p>\n<p>\n<strong><em>On the \u201csocial media mob\u201d \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI often think, \u2018How is it possible that we\u2019ve gone through the most politically tumultuous 15 years in recent American history, and yet our artistic response \u2014 Hollywood\u2019s artistic response, in terms of film and television \u2014 is incredibly timid?\u2019 It doesn\u2019t make sense to me. I think that there was kind of a combination of factors that happened all at the same time. You had these sort of social media mobs, you had kind of political revolutions inside Hollywood that were a reaction to political revolutions that happened in the country, and it all became \u2014 it started to push a utopian style storytelling onto Hollywood in which characters were fulfilling political objectives as opposed to human objectives. I think that social media plays a large role in that. The first time that I found myself trending as the No. 1 topic in the country, it was a little unnerving, but I don\u2019t know, I also think that it\u2019s like, \u2018You got to go against the mob. Historically, the mob is never right.\u2019 \u2026 There\u2019s not enough people in Hollywood who tell the truth, which is that the mob\u2019s not actually going to destroy you. You are free. You\u2019re free to say what you want, think what you want, and make what you want. And if you do it, it\u2019ll only inspire more freedom and continue to break up the mob. You don\u2019t have to follow the rules, and particularly in terms of storytelling, fan service is death. You have to make something for an audience who can handle uncomfortable truths, not fans who want their wishes fulfilled. I think that if anything, that noise and debate surrounding <em>Euphoria<\/em>, in particular, is what led to it becoming one of the biggest shows HBO\u2019s ever had. And so the controversy, the debate, is not something to run away from, it\u2019s something to run toward. It only generates more interest and curiosity in the show.\u201d<\/p>\n<p>\n<strong><em>On <\/em>The Idol <em>\u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI\u2019m incredibly proud of <em>The Idol<\/em> and I think it\u2019s going to age beautifully. It\u2019s a hysterical show, a very funny show anchored by an incredible fearless performance by Lily-Rose Depp and a wonderful cast. And I\u2019m not only proud of the show, I\u2019m proud of how we made the show. \u2026 I\u2019d written the script for <em>The Idol<\/em>, I\u2019d written the pilot, and the show sort of got up on its feet. <em>Euphoria<\/em> season two was going at the same time, so I got sucked into <em>Euphoria<\/em> season two, write and direct all the episodes, finish <em>Euphoria<\/em> season two \u2026 which was one of the toughest things I\u2019ve ever had to do in my life. [My wife and producing partner Ash] gives birth to our second son, Zeke, and two days later I\u2019m at Abel [Tesfaye, aka The Weeknd]\u2019s house, and HBO wants me to come in and fix <em>The Idol<\/em>. It was partially complete. They wanted to do re-shoots. I didn\u2019t want to step on another director\u2019s work and start to kind of cobble together things, so it came down to, \u2018All right, well, how are we going to fix the show? Or do we just kind of go back to what the original script was and try to make a coherent story with $20 million?\u2019 Which was the amount of money they were going to do for a re-shoot \u2026 I\u2019m sitting in Abel\u2019s house and looking around and going, \u2018Well, this is a great location. It\u2019s like 45,000 square feet.\u2019 And we call up Lily-Rose and say, \u2018So what you\u2019ve been doing, well, how do you feel about doing another version of it?\u2019 And she was happily on board. So we ended up having to pull all sorts of favors. We shot in Abel\u2019s house, and we treated it a little bit more like a reality TV show, in the sense that <em>Euphoria<\/em> has a very specific kind of directorial style, but with this we wanted to feel like we were blurring the line between reality and fiction.\u201d<\/p>\n<p>\n<strong><em>On the long-awaited third and final season of <\/em>Euphoria<em>, released four years after the second, and how it was shaped by several real-life tragedies that occurred in between the seasons \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI had already written a large majority of the season before the writers\u2019 strike. Then the writers\u2019 strike happened and Angus [Cloud, who played Fez on <em>Euphoria<\/em>] passed away. His character was the spine of season three at the time. He was someone I loved very, very much, and over the course of season two, I got him into rehabs and tried to keep him clean throughout shooting. I suddenly was confronted with not just the grief of it \u2014\u00a0he was 25 years old and a beautiful person \u2014\u00a0but also the practical implications of, \u2018OK, well, what story am I telling now? Because I have to start this again pretty much from scratch.\u2019 At that time, in 2023, 75,000 people were dying of fentanyl overdoses every year \u2014\u00a0it\u2019s gone down a little bit since then \u2014\u00a0and I was thinking, \u2018Well, how do I tell a story that kind of peels back the allure of addiction and desire and show the real consequences that lie behind it?\u2019 Which is something I\u2019d done for seasons one and two, but, \u2018How do I do that in a way that I think is a little bit more frightening, because the consequences are more frightening, and this is a problem that\u2019s only gotten worse?\u2019 I mean, if you just compare it to, say, the Vietnam War, we lost 50,000 young people during the Vietnam War over a period of 10 years; we were losing more than that in a single year [to fentanyl] and it wasn\u2019t on the front page of the <em>New York Times<\/em> every single day. So I thought, \u2018All right, how do I tackle what feels like a real plague that\u2019s happening, and also lean into the bigger, more existential questions: Why is life so fragile? What are we here for? Does God exist?\u2019\u201d<\/p>\n<p>\n<strong><em>On the show\u2019s connection to AA, and the wild west metaphor for season three \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI started to imagine season three as sort of like a frontier myth: We\u2019re entering a new era in America where economically there\u2019s a lot of uncertainty, and where the internet has created a number of new industries, the consequences of which we don\u2019t quite know yet. \u2026 If I look at the three seasons of <em>Euphoria<\/em>, I think of them in terms of the three steps of AA, the first being, \u2018We came to believe that we\u2019re powerless and our addiction\u2019s unmanageable.\u2019 Season two is, \u2018We came to believe that only a power greater than ourselves can restore us to sanity.\u2019 Step three is, \u2018We made a decision to turn our will and our lives over to the care of God as we understand them.\u2019 I thought, \u2018OK, if that\u2019s the central throughline, how is it applicable to now?\u2019 \u2026 What we\u2019re seeing culturally, I think, is an intense hyper individualism, to the point where we\u2019ve lost the greater cohesion of a society. Everything is about identity\u00a0\u2014\u00a0your own identity \u2014\u00a0and less about who we are as a country. I thought that that was an interesting tension to explore, and also the illusions that surround us, whether it\u2019s fame, social media, money, sex, drugs, the promise of reinvention. \u2026 We talked about the season as like a re-pilot. I wanted it to be a show that, if you hadn\u2019t seen the first two seasons, you could still jump into it from here and enjoy it. It\u2019s five years after high school, the characters are still pretty much in the same self-destructive cycles, it\u2019s only gotten a little bit worse, and this is the story of what happens when you chase desire.\u201d<\/p>\n<p>\n<strong><em>On reports that <\/em>Euphoria<em> is finished \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cSeason three is the last season of <em>Euphoria<\/em>. I feel immensely proud of what we achieved, I think it\u2019s an important story, and I\u2019m not sure where else to go with it. I think I\u2019ve said everything I need to say about this world of addiction and desire and its consequences. For three seasons, we\u2019ve pushed ourselves as filmmakers and as storytellers, and we\u2019ve gotten incredible performances from and gave birth to a whole generation of actors and craftspeople, and I\u2019m really proud of what we achieved. The show\u2019s ratings only grew every season, so I think it\u2019s good to go out on top.\u201d<\/p>\n<p>\n<strong><em>On what\u2019s next for him \u2026<\/em><\/strong><\/p>\n<p>\n\t\u201cI\u2019m in the middle of writing a feature right now that I\u2019m very excited about, and hopefully I\u2019ll have more to share very soon.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/uspropertymoves.com\/?p=2083\">Netflix\u2019s TF1 Content Deal Goes Live, Supercharging Its Strength in France<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Sam Levinson gives intevriew on &#8216;Euphoria,&#8217; addiction, &quot;social media mobs,&quot; Nick Reiner and why &quot;it&#8217;s good to go out on top&quot; in Awards Chatter podcast.<\/p>\n","protected":false},"author":1,"featured_media":2088,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[895,927,364,1041,445,621,1735,492,808,1736,457],"class_list":["post-2089","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-angus-cloud","tag-awards-chatter-podcast","tag-colman-domingo","tag-eric-dane","tag-euphoria","tag-jacob-elordi","tag-maude-apatow","tag-sam-levinson","tag-sydney-sweeney","tag-the-idol","tag-zendaya"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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