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HBO’s Euphoria is doing more than shocking suburban parents — its new season leans into an OnlyFans storyline that lays bare how internet-for-pay culture chews up dignity and spits out something darker. The show follows Cassie into increasingly humiliating fetish content as she chases easy money, and viewers across the spectrum are squirming at how casual the production treats the degradation.
Scenes in recent episodes push past mere implication into full-on fetish choreography: Cassie is shown in puppy gear, infantile costumes, and explicit topless moments, with sequences that some critics called “disturbing” and “a step too far.” This isn’t artistic subtlety — it’s spectacle packaged as a cautionary tale while simultaneously normalizing the very behavior it claims to critique.
Actual creators on OnlyFans have been blunt: Euphoria’s depiction is cartoonish and misleading, and it erases the hard work and agency many creators say define their livelihoods. If anything, the series trivializes the moral and economic coercion that pushes vulnerable people toward commodifying their bodies rather than showing any meaningful pathway out.
Sam Levinson, the show’s creator, has defended the choices by insisting there’s an “absurdity” and a comedic layer meant to break the wall between fantasy and reality — an admission that only proves the point conservatives have been making for years. When the director admits the scenes are meant to be humorous and absurd, modern viewers should ask whether laughter is the right response to the slow erosion of wholesome culture.
Meanwhile, in a blunter reminder that Hollywood has lost its cultural bearings, Taylor Sheridan’s Landman gives us Tommy Norris — played by Billy Bob Thornton — calling daytime leftist panels “a bunch of pissed-off millionaires bitching about how much they hate millionaires and Trump and men and you and me.” That line landed hard because it simply described what viewers have watched for years: smug elites who lecture the country from gilded studios.
That roast didn’t come from nowhere; conservative commentators rightly cheered Thornton for refusing to play the game of performative politics, and for letting a mainstream drama lampoon a lefty echo chamber that rarely hears dissenting opinions. Hollywood’s reflexive moralizing looks hollow when actors and writers are free to mock the very institutions that pretend to be morally superior.
Both stories point to the same rot: a culture industry that cashes in on sex, outrage, and sanctimony while pretending to be enlightened. Real patriots and hardworking Americans should reject the normalization of commodified intimacy and the smug moralizing of elite panels, and instead champion institutions that protect decency, family, and personal responsibility.
