He just said, “I love what you do, and I want you to do what you do on the show.”īut you must have had a general sense of the plot? No. How did Sam Levinson describe what he had in mind for the score? He didn’t describe it. Going into Season 1, how much did you know about the show? I had no idea what it was. We talked about his evolution in Season 2 and how he figured out what “teenager” should sound like. Season 1 was his first time working on a score. Before “Euphoria,” Labrinth, 33, was best known as a pop producer. The score - which is really more like an original soundtrack - was composed by the English artist Labrinth. The soundtrack - which time-travels from Steely Dan to DMX to Baby Keem - is handled by a music supervisor named Jen Malone.
What holds all this together is the music: a maximalist, genre-agnostic soundscape that includes both a licensed soundtrack and a score. The show’s creator, Sam Levinson, 37, plays liberally with flashbacks, fourth-wall-breaking asides and magical-realist fantasy.
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The teenagers on this show are pushing the envelope - as TV teenagers do - but here they act out with postmodern panache. Like teen soaps since the dawn of television, “Euphoria” seems to be designed primarily to shock and titillate adults, updating the time-tested tropes of the genre (cheating, revenge, domestic abuse) with a new set of even more scandalous ones (camgirls, gender, the opioid crisis). Late in the age of prestige television, we’ve arrived at what is perhaps the first prestige teen drama.
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