ROCKWELL I pitched Mike some ideas, and we read it through, and he was on board with the take I had on this guy. We wanted to make him feel possibly ex-military, super masculine and kind of nonchalant, which worked in contrast to Mike’s writing in the scene.

And the incest thing, it’s really more about someone who is trying to connect with his brother and his sister through the things they value. Saxon is all about getting off, and Piper is renouncing the materialistic.

MONAGHAN The three of us originally just referred to them as “the ladies.” People have taken to referring to them as “the toxic trio,” but Mike’s original inspiration for us was “the big blonde blob” — this group of women that moves together and sort of sounds alike and looks alike. Interchangeable. Once the season starts to progress, you start to see them individuate from each other. WHITE I knew I didn’t want to do, “Here’s the short dumpy one, here’s the pretty one …” I wanted them all to be variations on the same idea when they show up. I’d been on a vacation where there were these three women who I couldn’t even tell apart until one would peel off and you’d hear the other two talking [about her].

GOGGINS The very first conversation he and I had was me asking, like, “How does Rick move through the world? Where has he been? How does he dress?” Mike said, “I don’t know.” I go, “Well, I do know.” And he said, “OK, let’s do that.”

COON Mike will do this thing where he scream-laughs at the monitor if he thinks you’re funny. We’re actors, so as soon as you know that’s happening, you become obsessed by it. “He didn’t do the scream-laugh! It’s not funny! I’m not as funny as this person!” You just spiral.

While Levinson could be generous and kind, he also had a tendency to become overwhelmed and angry. “Sam was so stressful to everyone around him. He is a person who needs to be handled,” says a source who worked on a Levinson-Turen production. His obsessiveness meant he has “no off button. He would shoot all night, if he could. He always wants to push boundaries and shock people a little bit. He needs someone to curate his thoughts and ideas.”

Zendaya has told HBO executives that she doesn’t want Ashley Levinson to be the only executive producer on season three. With Turen gone, Zendaya is not the only person involved with the show to feel that way. Sources say Ashley is a very different proposition from Turen — more sharp-elbowed than conciliatory and, above all, fiercely protective of her husband. “Sam needs somebody else beside Ashley,” says a talent rep with a client in the show. “He needs a voice of reason, and Kevin was a genius at that.” An insider adds: “Sam really is a big talent, but he needs managing, and if you’re a spouse, it’s tough. He needs boundaries, he needs deadlines. It’s hard for a spouse to set limits. You’re setting yourself up for failure.”

Sources say at least one of Zendaya’s co-stars — Sydney Sweeney — was eager to return, specifically with Levinson at the helm. Though the delays have caused her to miss out on some big paydays, a source in her camp says pointedly: “She’s looking forward to going back to Sam Levinson’s Euphoria. She feels very strongly about Sam and his work.” Jacob Elordi, the other co-star with the most traction in movies, has been “aloof” and ambivalent about returning, says a source, but now he has re-upped. Elordi’s reps did not respond to a request for comment.

there is more than one take on what has gone awry with Euphoria. A source close to Levinson blamed Zendaya for dragging her feet with an eye toward a burgeoning film career that would soon include not only the studio franchises Spider-Man and Dune, but Luca Guadagnino’s Cannes entry Challengers. “It was all about her,” says one source. “Everybody wanted to make it about Sam, but it was her.”

Levinson’s approach has led to repeated changes in personnel, starting with the first season of Euphoria. As Levinson was still a relatively inexperienced director at the time, says a studio source, “the [initial] idea was to have multiple directors and writers. But he operates the way he operates.” The plan changed.

Levinson’s involvement was meant to be limited. He had written a pilot on spec, though HBO had not expected that as he was still working on Euphoria season two. The series was quickly greenlighted despite the skepticism of several HBO executives. Amy Seimetz (co-creator of Starz’s The Girlfriend Experience) was brought in to direct all episodes, and there was a writers room overseen by Joe Epstein. But with production well underway, sources say, The Weeknd had soured on the work and asked Levinson to get involved. At that point, Seimetz had shot five and a half of six episodes. HBO tossed all the material that Seimetz had produced, an estimated $60 million worth, and the original team was sidelined. With no scripts in hand, HBO allowed The Weeknd and Levinson to come up with a different story and Levinson took the helm as writer and director of the reconceived show.

A source who worked on the earlier version says he finds it shocking how much latitude HBO was giving Levinson. “I know Euphoria‘s a hit, but it’s not Game of Thrones,” this person says. When the first Idol team was dropped, this person adds, “It was just this level of being so easily disposed of that really affected me.”

“Come right off ‘Fury,’ right? I had the town in my hand — could’ve done anything, and I did do anything,” Ayer continued. “And [I] go on this journey with [‘Suicide Squad’]. And the same thing — authentic, truthful, let’s do all the rehearsal, let’s really get in each other’s souls. Let’s create this amazing, collaborative thing, right? And then ‘Deadpool’ opened, right? And they never tested ‘Batman v. Superman,’ so they were expecting a different result, and then they got hammered by all the critics. Then it’s like, ‘Okay, we’re going to turn David Ayer’s dark, soulful movie into a fucking comedy now.’”