![]() ![]() ![]() He offered, “Would you be interested in writing this with me?” And, of course, I was like, “Hell, yes. I’ve been pretty involved in Jules’s development and her character from the beginning, and within our conversations, Sam pointed out that some of the stuff we were talking about sounded like dialogue. We started having conversations about where Jules was at and what we might want to say. And we discovered that Rue is not always the most reliable narrator. It became a really beautiful opportunity to do these check-ins and character studies of Rue and Jules.Īt what point did you decide you would write and co-produce Jules’s episode? So he came into these episodes knowing how that worked. Eventually, he started tossing around the ideas of these special episodes that are more contained and more feasible for filming within a pandemic, particularly with what he’d learned by filming Malcolm & Marie. I took Shonda Rhimes’s MasterClass and was writing a script with my friend, and Sam and I are in constant communication, exchanging ideas and songs and whatever. I’d been curious about screenwriting for a bit and did a little studying on my own. The beginning of quarantine left me scrambling for things to keep myself occupied within the sudden isolation. How did this episode come together during quarantine? What were you doing before you and Sam started talking about putting it together? For press things, we like to be in the work zone. But we got a little pearl gradient moment going on. My makeup artist is here, and we’re always figuring out new things to do. Tell me about your amazing eye-makeup situation. She Zoomed me from a hotel room in classically Jules-esque eye makeup (tiny pearls lined up in a V-shape along the inner corner of her eyes) to tell me the whole story about how the episode came together - including her cross-country conversations with Levinson, how writing it kept her from checking into a mental hospital, Torrey Peters’s Detransition, Baby, and what, exactly, “Fuck Anyone Who Is Not a Sea Blob” means. This makes the episode, a possible Emmy contender, feel in some ways as if we’re getting a line to Schafer’s own roiling thoughts. Schafer has spoken at length about how Levinson has allowed her to shape Jules, blending her character’s backstory and personality with her own. Schafer co-wrote and co-produced the episode alongside series creator Sam Levinson - both things she had never done before - most of which the pair accomplished spontaneously over the phone during quarantine. The compounding traumas might have felt overwrought without Schafer’s performance, which anchors the whole thing in reality: Her face crumples and expands, her body curling in on itself as she allows herself to be equal parts vulnerable and self-protective. ![]() The episode, titled “Fuck Anyone Who’s Not a Seas Blob,” engages unflinchingly with themes ranging from Jules’s suicidal ideation to her being catfished and sexually exploited to her evolving understanding of her gender performance and its inextricable link to male desire. But Jules’s episode functions on another level, doubling back and replaying much of the first season through her eyes (at one point, literally), giving us new information about her backstory that we aren’t privy to in season one. ![]() Both spend time parsing and unpacking that moment - and its emotional aftermath - without giving away what may unfold in season two (which is filming now). Each episode takes place a few weeks after the show’s protagonist, Rue (Zendaya), and her best friend–(ex?) love interest, Jules (Hunter Schafer), part dramatically at a train station at the end of season one. Last winter, after the pandemic postponed the filming of Euphoria’s second season, HBO surprised fans of its smash hit with two “special episodes,” both of which are pared down and more intimate than the series’s usual Technicolor, rapid-fire teen chaos. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |