“Euphoria” (2019–2026) is known for glitter, chaos, and controversy—but it’s also home to some remarkably well-crafted monologues. Whether you want to explore the depths of addiction, deliver a scorching takedown of performative activism, or simply portray a hilariously unhinged emotional breakdown (Cassie, we’re looking at you), these 10 monologues from “Euphoria” are perfect for practice or your next audition.
1. Rue’s opening monologue (Season 1, Episode 1)
This serves as the audience’s introduction to protagonist Rue (Zendaya), who walks us through her life, from her birth, through her childhood, and eventually to her difficult relationship with mental health that led to her substance abuse problems. Despite appearing in the very first episode, it ranks among the series’ best. It’s a great choice for anyone looking for material that touches on mental health struggles with just enough quirky detail and florid teenage language to keep things from getting too heavy.
Rue:
I was once happy. Content. Sloshing around in my own private, primordial pool. Then one day, for reasons beyond my control, I was repeatedly crushed, over and over by the cruel cervix of my mother, Leslie. I put up a good fight, but I lost, for the first time, but not the last. I was born three days after 9/11. My mother and father spent two days in the hospital, holding me under the soft glow of the television, watching those towers fall over and over again, until the feelings of grief gave way to numbness. And then, without warning, a middle-class childhood in an American suburb. It’s not like I was physically abused, or had a shortage of clean water, or was molested by a family member. So, explain this shit to me. I don’t remember much between the ages of eight and twelve. Just that the world moved fast and my brain moved slow. And every now and then, if I focused too closely on the way I breathed, I’d die. Until every second of every day, you find yourself trying to outrun your anxiety. And quite frankly, I’m just fucking exhausted. And at some point, you make a choice about who you are and what you want. I just showed up one day, without a map or a compass, or, to be honest, anyone capable of giving one iota of good fucking advice. And I know it all may seem sad, but guess what? I didn’t build this system, nor did I fuck it up. And then it happens. That moment when your breath starts to slow. And every time you breathe, you breathe out all the oxygen you have. And everything stops: your heart, your lungs, then finally, your brain. And everything you feel, and wish, and want to forget, it all just sinks. And then suddenly… you give it air again, give it life again. I remember the first time it happened to me I got so scared I wanted to call 911. Go to the hospital and be kept alive by machines and apple juice. But I didn’t want to look like an idiot, and I didn’t want to fuck up everyone’s night. And then over time, it’s all I wanted... those two seconds of nothingness.
2. Rue and Fezco talk drugs (Season 1, Episode 1)
Despite being fresh out of rehab, high-school student Rue is high at a party; and despite being her drug dealer, Fezco (Angus Cloud) questions why Rue continues to jeopardize her life and relationships by using drugs. For Rue, the answer is simple: They help her feel something that resembles normal. While the monologue begins as a fairly typical story-driven piece—if you can consider teenage drug abuse to be typical audition fodder—it transforms into something more contemplative, and it can be incredibly moving in the right hands.
Rue:
You know, I remember when I was 11 years old. It was a couple of months after my dad got diagnosed and we got the results back from the prognosis and it was really good. It was like 80/20, and we decided to celebrate, so we ordered a bunch of Chinese food. I remember that night I was laying between my parents in bed, and all of a sudden, I couldn’t breathe. It was like there was no more air left in the world. And I was gasping, and I was panicking. And they called the ambulance, and they thought it was like, an allergic reaction or some shit. And then when I got to the hospital they gave me liquid valium. Yeah. To calm me down. And when it hit me I thought: this is it. This is the feeling I’ve been searching for my entire life. For as long as I can remember. Because suddenly, the world went quiet. And I felt safe in my own head. Two years later he was gone. Panic attacks stayed, and I found a way to live, so… will it eventually kill me? Maybe. But maybe not, I don’t know. Still want to be my dealer, Fez?
3. Kat gets confident (Season 1, Episode 5)
After being involved with several men online, the formerly shy Kat (Barbie Ferreira) finds new confidence in her body and sexuality. Though brief, this is a great choice that’s moldable to whatever purposes an actor may need in an audition setting. It’s used as a voiceover in the series, which means you can give it any context you want: How does the piece change if it’s delivered to a friend versus an adversary?
Kat:
Can I be honest with you? What I realized is that, like, my whole life, all I’ve tried to do is take up less space. Tried to hide from guys who might whisper to their friend, under their breath, as I walked by. I spent my whole life afraid people were going to find out that I was fat. But honestly, who gives a shit? There’s nothing more powerful than a fat girl who doesn’t give a fuck.
4. Ali speaks on revolution (special episode, “Trouble Don’t Last Always”)
In the first of two “Euphoria” specials released during the pandemic, Rue and her Narcotics Anonymous sponsor Ali (Colman Domingo) meet on Christmas Eve to discuss Rue’s recent relapse and her tumultuous relationship with Jules. While there are several monologues from Ali to choose from in the special, his take on revolution stands out—and Domingo (who won a Primetime Emmy for outstanding guest actor in a drama series for his Season 2 work) delivers it with aplomb. At once cynical and rousing, with a touch of humor if you handle it right, this is a great option for anyone looking to play a wise character who sees the world for what it is.
Ali:
There’s so many revolutions that everybody’s a revolutionary. The rich. The poor. The right. The left. The young. The old. The beggars. The bankers. Man, is it beautiful, huh? Everyone all at once, fighting one revolution after another. I tell ya, I never thought I’d see so many revolutions in my entire life. The revolutions are fought and won so damn fast that the people don’t even have time to implement change, because haven’t you heard? Huh? There’s a new revolution. I went down to buy me a new pair of kicks at the Nike store the other day. And I look up on the wall, and I see in 20-foot letters, these words: ‘Our people matter.’ And I thought, man, this feels good. Here I am, and my favorite shoe store’s out here saying, ‘I know you lived a long life. And I know that life ain’t always been easy, but here you are, at 54 years old, my brother, and I want to say I love you.’ And I’m like, man. This feels good. And I’m like, thank you, Nike. And then I pick up a pair of these sneakers and I look at the price tag, and it says $139.99. And I’m like, I thought Nike loved me. Appreciated me and my life. What happened here? And I look around the store, and I see a whole bunch of Black people, you know, also feeling good. And I see a whole bunch of white people, too. Also feeling good. Some even, you know, posing. And taking pictures with the 20-foot letters on the wall. Yeah. Yeah. Straight up. I just had this feeling, and I thought, fuck you, Nike. You don’t give a fuck about anything or anyone. Chinese Muslims are sewing these Kaepernick sneakers for seven cents an hour, and you’re telling me my Black ass matters? Give me a fucking break. If rap music wasn’t mainstream, if Nirvana was still the most popular band in America, they’d be out here saying, ‘Depression Matters,’ because that’s what would move sneakers. Shit. These advertisers. They’re too good. Uh-huh. And they’ve outsmarted us. But at the same time, your generation’s full of some mark-ass bitches, because they’ve tapped into your phones. Yeah, yeah. They’ve read your likes. They’ve predicted your moves, and trapped your asses. You think you out here fighting a revolution, and Bank of America’s on your side? Give me a fucking break. Because a true revolution has no allies. It’s just that simple. Because a true revolution, not a fast one, not a quick one, not a fashionable one, but a real fucking revolution, is at its core, spiritual. It is a complete decimation of one’s priorities, beliefs, and way of living. And reconstruction in the spirit of, uh… You have to create a new God. Or gods. Or whatever you can. But it is imperative that you believe in something. Something greater than yourself. All right? And it can’t be the ocean, or your favorite song. And it can’t be the movement, or the people, or the words. You’ve got to believe in the poetry. Because everything else in your life will fail you. Including yourself.
5. Jules and the ocean (special episode, “Fuck Anyone Who’s Not a Sea Blob”)
In the second special episode released between the first and second seasons, Jules (Hunter Schafer) meets with her therapist and discusses whether she wants to stay on her hormone blockers, musing that she worries her femininity is more about pleasing others than herself. She comes to realize that although she once saw femininity and strength as separate entities, the two can be one and the same. A thoughtful meditation on what it really means to be a woman and to feel at home in one’s skin, this is the rare piece specifically written with a trans actress in mind.
Jules:
I’ve always thought of puberty as, like, a broadening, or a deepening, or like, a thickening. Which I, I think is, like, why I was always so scared of it, you know? ‘Cause in my head, women were always, like, small and thin and delicate, and… You know, so, like, the thought of puberty, like this… irreversible, forever fucking metamorphosis was just, like, fucking terrifying. And, you know, that, like, when it happened, I’d just, like, end up on the other side. Like, stuck. Or even worse, just, like, a man. Like, through and through. And then femininity would always be this just, like, elusive, distant thing, you know? Like, unreachable. But then, I think about beautiful things that are also broad and deep, and thick, and I think of… something like the ocean. I think, like… that I want to be as beautiful as the ocean. ‘Cause the ocean’s strong as fuck. And feminine as fuck. And, like, both are what makes the ocean the ocean. My grandmother used to live by the ocean. And when we’d go visit, we’d go down to the beach. And I’d close my eyes… And I’d just swim, and swim. And it didn’t matter, like, where I was going, or what could happen. Sometimes I’d pray to the ocean. At least for me, being trans is spiritual. You know, it’s not religious. It’s not, like, for some congregation. It’s for me. It’s mine. It belongs to me. And I don’t ever want to stand still. Like, I want to be alive. I mean, that’s what this has always been about, is, like… staying alive.
6. Cassie daydreams about telling Maddy off (Season 2, Episode 3)
By the middle of Season 2, Cassie (Sydney Sweeney) has been sleeping with her best friend Maddy’s (Alexa Demie) on-again, off-again boyfriend Nate (Jacob Elordi). Despite all the fun she’s having, the guilt is eating her alive. Fed up with the charade, she lets Maddy and the rest of her friends have a piece of her mind—though we later find out this only happens in her imagination (Cassie would sooner barf in a hot tub than come clean). This short piece is a great pick if you’re looking for a frantic, unhinged monologue with the kind of comedy that can only come from playing things dead seriously.
Cassie:
No, yes, fuck it. I am in love with Nate Jacobs and he is in love with me! And don’t you fucking give me that look, Maddy, because I didn’t fuck your boyfriend: You two were broken up for three weeks and three days before we even had sex, so I didn’t betray you. Plus, you guys are terrible for each other and you know I’m right, and you guys can all judge me if you want but I do not care. I have never, ever been happier.
7. Cal blows up at his family (Season 2, Episode 4)
Patriarch Cal (Eric Dane) is going through it, to put it lightly. He’s lost control of his son, he’s struggling with his sexuality, and he knows there’s a video of him having sex with an underage Jules just floating around, waiting to ruin his life. After a night of heavy drinking and reminiscing about his past, he comes home and effectively comes out to his family before telling them to shove it while they look on in horror and bewilderment. This is a great choice for anyone looking for a “mad dad” piece, as long as they aren’t afraid of a lot of vulgarity. While Cal’s speech is long—running a whopping five minutes in the episode—it could easily be cut to suit more realistic auditioning needs. And if drunken-meltdown isn’t quite what you’re looking for, it could just as easily be played as a sober tirade from a man who has reached his limit.
Cal:
Here’s the funny thing. If I said tonight that I went to the strip club, and I picked up a real grade-A piece of ass. Huge tits, shaved pussy. And I fucked the shit out of her in my truck, you wouldn’t be one-tenth as appalled as you are right now. You wouldn’t be standing here saying, ‘Dad, what are you talking about?’ You’d be like, ‘Dad, don’t say that in front of Mom.’ Fuck you. Fuck you. You’re a bunch of fuckin’ hypocrites. I’m a man. I’ll fuck whoever I want, whenever I want. I’ll fuck men, I’ll fuck women, I’ll fuck transsexuals, and I’ll have a mighty fine time doing it. I eat what I kill.
[Marsha: I’m going to bed.]
I’m a faggot… sexist, chaser, pig, fucking creep, and I love it. Living a double life? Not my biggest regret. You are. But let’s be honest, we all live double lives. Don’t give me that look, Marsha. You got that shoebox full of love letters that camp counselor used to write you. You saved them. Flirting on Facebook. I get it. It feels good to know that you were loved by somebody other than just me, I’m not standing here looking at you like, ‘How could you?’ I mean, we all have secrets. Aaron? The porn on your fucking computer made my jaw drop. Marsha, come back! You saw it. Your mother’s the one who showed me. Don’t talk to me about secrets. Watching eight people cum on one person’s face? Gang-bangs, fucking cum-funnels, fucking pissing in people’s asses? Jesus fuckin’ Christ, man. I got problems, you got problems. You know, I was kind of uptight when I met your mother. She was a freak, and a fuckin’ fox. Marsha, you were a fuckin’ fox! Nathaniel… your whole fucking life’s a secret. A mystery. Who knows about you? I have lived with you. I have raised you. I am your father. I know nothing about you. That’s not true. I know that you’re angry. I’m so sorry I fucked you up with my double life. Okay, maybe I took mine to the extreme, I’ll admit that, but… I have a problem. But the reason I have a problem is this family. That’s why. I’m not allowed to form an emotional connection, and I’m an emotional guy. You fuckers backed me into a corner. But you know what? I think you’ve set me free. So this is farewell. I left you with a little memory of me here on the floor of the foyer, you two dickwads can draw straws to see who cleans it up. I’ll see you assholes later.
8. Rue’s eulogy for her dad (Season 2, Episode 5)
In this flashback, we see a younger Rue deliver a heartfelt eulogy for her father. Short, sweet, and to the point, this tender monologue about loss and enduring love would be a natural fit for a younger actress, but its themes are universal enough to work for any performer, regardless of age or gender.
Rue:
I remember a couple of days before you passed away, you told me that if I ever wanted to be with you, all I would have to do is close my eyes and we’d be together. I’m with you when I’m six years old and at the beach for the first time, jumping into the waves. You said that memories exist outside of time and have no beginning or end. You said as long as I live you’ll be with me forever. I miss you, Dad. I miss you until I close my eyes. That’s it. Thank you.
9. Rue yells at Jules (Season 2, Episode 5)
When Rue finds out her mom knows she relapsed and has already disposed of a suitcase full of drugs Rue has no means to pay for, she has an absolute meltdown. Things only get worse when she realizes Jules is the one who told her mom—and that Jules has been sitting in the living room, listening to Rue’s entire temper tantrum. Fueled by an award-winning combo of shame, betrayal, and withdrawal symptoms, Rue lashes out, accusing Jules of being an emotional vampire and a bad friend. Rue’s words are deeply hurtful, but what keeps the monologue from sliding into mean-girl territory is just how much pain is behind them: Rue is absolutely gutted. This is a great option for anyone looking for a piece that strikes the delicate balance between fury and devastation.
Rue:
Why the fuck would you say anything? You are fucking dead to me.
[Jules: You don’t mean that.]
I fucking mean every fucking word. You’re dead to me, Jules.
[Jules: I don’t believe you.]
You and me? We’re fucking done. There’s nothing fucking there anymore. Nothing. Fucking. There. You know, I have a lot of regrets in my life, but I gotta tell you, Jules, meeting you has got to be at the top of my fucking list. Well, now you want to fucking cry. Now you want to fucking cry? Yeah, you’re a fucking vampire. You just go around fucking sucking the fucking spirit out of everyone. You like that shit. Makes you feel good.
[Jules: You know that’s not true.]
It is fucking true! It’s all about fucking Jules, right? And you don’t know what the fuck you’re doing, you just act all fucking innocent. Like you’re just a fucking sweet little angel, this innocent sweet little fucking angel who doesn’t know what the fuck they’re doing. You know what the fuck you’re doing!
[Jules: I love you.]
No, the fuck you don’t. You love being loved. You’re a fucking greedy whore who just likes sucking the life out of people, and it fucking hurts, Jules!
[Jules: I love you.]
No, you don’t. Stop saying that! You don’t love me. You fucking left me when I fucking needed you. You fucking left me when I was at my fucking low—you fucking left me at my fucking lowest, and a real fucking friend, someone who fucking loves you, wouldn’t do some shit like that, Jules.
[Jules: I love you, and I want to help you.]
If you want to help me, you can honestly… you can just stay out of my fucking life, forever. That would be great, because honestly looking at you makes me physically fucking ill.
10. Nate’s mom psychoanalyzes him (Season 2, Episode 6)
After Cal leaves his family, his wife, Marsha (Paula Marshall), begins needling their son Nate about his frequent bad behavior, including choking his girlfriend Maddy—an accusation he futilely denies. While much of what Marsha has to say can seem harsh coming from a mother, it isn’t entirely devoid of feeling: She contrasts her son’s current failings with the kind little boy he once was. This piece is a great choice for an actor who really wants to play the “tough” in “tough love.”
Marsha:
Why is it, why is it that you only have the bad qualities of your father, and none of the good qualities?
[Nate: Okay. Right, so Cal, Cal’s a fucking saint now.]
No, that’s not what I said.
[Nate: That’s literally what you fucking said.]
No, it’s not. I just—he’s deeply flawed, and somehow… somehow, some way, we raised a child who’s even more deeply flawed. Do you ever wonder about that? Do you just like—what went wrong? Do you ever think about that? No, of course, you don’t because your fucking dumb-ass dad didn’t believe in therapy, so self-reflection’s off the table. It’s just… It’s just a mystery to me. Because you were such a sweet little baby. I remember you used to come to our bedroom at night, and you would, you would ask me if I wanted anything to drink, you know, before bed, and sometimes I’d say, ‘Yeah,’ you know, ‘I want a glass of water,’ just to see if you’d do it. If you meant it, and you did. You’d bring it up, right? You’d put it on the nightstand, and then, you’d give me a little kiss, and you’d tell me you loved me. Then you’d look over at your dad, and you’d tell him you loved him, too, but without the kiss. And then, I don’t know, somewhere, like, around eight or nine, you just, you darkened. Do you remember those years?
[Nate: Not really, no.]
God, I used to ask your dad, I was like, ‘Did a baseball hit him in the head? Did he get a concussion? Did something happen? I just—I don’t understand.’ It was such a drastic change, and I, I swear–
[Nate: What’s the fucking point? What’s the point of all this?]
Look, I’m just trying to figure out how things ended up the way they ended up. That’s all.
