![]() In season two, Cassie turns into a blend of those two states of being, more or less at the very moment when she realizes that her devotion for Maddy is not the staple of her life anymore because there’s something else – someone else – for whom she finds out she would give all herself, for whose approval she gives up her mental and physical health, for whose love she’d give away her own life. But between despair and breakdown, the line can get fuzzy, though it’s when the two feelings cross and merge that the possibilities of a happy ending are nullified. Cassie hangs off Maddy’s words, to please and imitate her she’s become who she is and does what she does, hers, towards her friend, is an almost unhealthy admiration, and the only thought of losing her drives her to despair. Her story is not the usual tale of a betrayed friendship because of a boy, of helplessness before infatuation her story is a tale of desire, of the need to be liked at any price. It’s precisely Cassie the one character whom it would be worth spending a few words on. ![]() Some friendships end, others begin, and new truths come to surface, between broken promises, double lives, sexual insecurities and, shielded by a thick glass that somehow always keeps her one step away from the other characters, one protagonist above all with one battle above all: Rue Bennett against drug addiction. So, here they come, Nate, his father Cal, Elliot, Fezco, and Ali to interfere with their lives and participate with more or less destabilizing contributions. But we know how these things go, how the actions of unrolling and disbanding can cause an order, somewhere, to self-destruct, especially if with those threads one wants to create something big, bigger than before and for which the original pairings suddenly feel overstated. All we know is that Sunday can’t come soon enough.Rue, Lexi, Cassie, Maddy, Kat, Jules. We met them at the beginning of season one as a solid group of girlfriends, a battalion of women aligned against the world, a tangle of threads of different colors and textures, carefully matched one to another and woven in a nucleus that seemed indestructible. Long, picturesque shots of different characters at the end of the episode felt almost like a final curtain call. Regardless of where our protagonist stands, it’s clear this was a turning point in the series. Levinson said he imagined that “when Rue gets really high she’s able to kind of enter this place sort of between life and death where she can reunite with her father.” “Ok but the post credit trailer for ep 5 made it seem toooo obvious … there has to be some plot twist,” one Tiktokker commented.įans are also referencing a post-credits interview from director Sam Levinson from this episode. Some referenced unseen footage from this season’s trailer, and others think it’s not that simple. Still, other fans aren’t convinced this is the end of Rue’s life. To take it a step further, the trailer for episode five opens with sirens, a whole lot of crying and Elliot saying, “I liked Rue the way she was.” Some fans took the father-daughter imagery as a sign Rue has died, or at least overdosed to the point where she is close to it. Rue’s hallucination parallels back and forth between her hugging her father and her in a church, walking down the aisle and tearfully embracing artist Labrinth, the series’ composer. “This either represents Rue actually dying, or represents Jules’ love for Rue dying,” one fan theorized in a side-by-side TikTok edit of the movie references in episode four. ![]() Jules also finds out that Rue hasn’t been sober the entire season in this episode, and we see their relationship unravel both as they fight and when Jules cheats on Rue with Elliot. The two also dress up and act out fated lovers, like Jack and Rose in “Titanic,” Jack and Ennis in “Brokeback Mountain,” Sam and Molly in “Ghost” and John Lennon and Yoko Ono.īut fans are noticing that someone dies in all of these famous couples, and most of the time it's the character that Zendaya’s character Rue is dressed up as. We see Jules as Sandro Botticelli’s famous painting “The Birth of Venus,” as Frida Kahlo in “Diego and I” and as Snow White with Rue animated as Prince Charming. The episode opened with Rue expressing her love for Jules by way of some of the most famous examples of love, beauty and anguish.
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