Critic v. Critic: ‘The White Lotus’ Season Three

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“The White Lotus” kept audiences captivated all season long.

Again.

In the third season, “Max Drama” emerged as the essential show to watch during the spring. You can’t avoid the numerous articles about it on popular culture websites.

Was it any good, though?

1. Christian Toto, the editor of HiT, regretted having to spend those more than eight hours. On the other hand, Harry Khachatrian, a movie critic from The Washington Examiner, was thrilled by Mike White’s creative direction in the show.

2. Christian Toto from HiT wished he could get back the over eight hours he spent. In contrast, Harry Khachatrian at The Washington Examiner found the creative approach of show creator Mike White to be exhilarating.

3. If Christian Toto could turn back time, he would like to reclaim those extra hours he invested in HiT. Meanwhile, Harry Khachatrian from The Washington Examiner was enthused by the innovative vision of Mike White in the creation of the show.

4. Christian Toto, an editor at HiT, felt that he could have used the more than eight hours he spent there. However, film critic Harry Khachatrian at The Washington Examiner was captivated by the inventive ideas presented by show creator Mike White.

5. In a different scenario, Christian Toto, the editor of HiT, would like to recover those extended hours he had put in. On the other hand, movie critic Harry Khachatrian at The Washington Examiner admired the exciting imagination of Mike White in his role as show creator.

Story spoilers ahead…

The third installment of “The White Lotus” series captured the spirit of the times and held on tight, but this critic, who adored the first two seasons, found themselves yearning for a return trip to paradise. However, upon arrival, something seemed amiss right from the start, and the series’ previous peaks never resurfaced.

Indeed, the latest group of travelers exhibited a questionable moral compass again. This time around, we had Parker Posey portraying a woman battling drug addiction, while Leslie Bibb, Carrie Coon, and Michelle Monaghan played three self-absorbed friends in their forties.

For weeks on end, it seemed as though nothing significant transpired. Scene after scene unfolded without apparent reason. The characters’ traits were swiftly defined (Patrick Schwarzenegger’s Saxon was a jerk from the start, Walton Goggins’ brooding presence blended seamlessly into the Thai backdrop), yet creator Mike White’s signature deep psychological analysis appeared to be absent.

In my opinion, the last two episodes have been quite revealing, shedding light on some missing pieces, yet they didn’t quite live up to the brilliant writing we’ve seen in earlier installments. Regrettably, the finale fell flat for me, serving up implausible plot turns, illogical action sequences, and questionable decisions from our troubled tycoon, Timothy Ratliff, portrayed by Jason Isaacs. For now, let’s focus on his performance and set aside the debatable accent he brings to the character.

Season three proved a colossal disappointment.

It’s worth considering if we were watching the same show, given your observation about Mike White’s sharp psychological insights in this season. Initially, Saxon resembles a caricature of Temu or Patrick Bateman with his superficial confidence, muscular persona, and materialistic aspirations – typical traits often associated with finance bros. However, dismissing his character development as shallow underestimates the way White gradually deconstructs this façade throughout the season.

Initially portrayed as a satirical figure, the character ultimately transforms into a pitiful sight: a man who, by the end, cannot deny the hollow existence he’s constructed for himself.

Instead of considering this as “nothing eventful,” it’s precisely that lack of action which defines the show. “The White Lotus” doesn’t revolve around a complex plot; rather, it offers a glimpse into people’s lives as they slowly disintegrate, much like watching a slow-motion collapse. Saxon’s journey, similar to Timothy’s, is not about significant incidents but the subtle, gradual unwinding of their psychological states.

In that final scene, Saxon struggles to contain his tears as he witnesses Chelsea embracing another man. This isn’t just impressive acting (and Schwarzenegger deserves recognition amidst an illustrious cast). Instead, it represents White delivering a poignant commentary on the emptiness of contemporary spirituality, a topic seldom addressed in mainstream television, let alone on HBO.

Instead of calling Isaacs’ businessman “stupefying,” I find Timothy Ratliff’s character development one of the most intriguing character studies in the series thus far. He initially appears as a financier on the brink of collapse, and throughout much of the season, he is found in a dazed state, consuming his wife’s Lorazepam, pondering whether to drag his family into his impending downfall with him.

Some viewers might consider the storyline leisurely, but I personally appreciate the deliberate tempo – the subtle portrayal of despair without melodrama – which amplifies the impact of his eventual understanding. Rather than opting for a flamboyant finale, White chose to present us with something challenging: a man coming to terms with the loss of his fortune, the tarnishing of his reputation, and yet, the people he cares about remain by his side.

His salvation doesn’t come from regaining power, but rather from embracing something stronger and longer-lasting – the bond of family.

Indeed, if you’re anticipating dramatic surprises or major character demise, Season Three may seem less intense. However, give it a chance—really immerse yourself in it—and you’ll find it provides something far more profound: a gentle, humorous, poignant, and unforeseen exploration of individuals struggling to believe they’re content, even as their meticulously crafted lives start to crumble subtly behind the scenes.

Toto’s storyline with Timothy Ratliff was particularly frustrating: Week after week, he skillfully dodged his own destiny, leaving his oblivious family puzzled as they failed to grasp the clear signs of his struggles. He contemplated ending their lives due to their shallow nature, but eventually had a change of heart.

In my perspective, I too find it admirable that he chose to isolate his young son amid such tragic circumstances, as his family members were falling victim to a lethal substance. Interestingly, he carelessly left behind the deadly concoction in the blender, subtly leading his son towards an inevitable encounter with it.

RELATED: THE SPIRITUALITY BEHIND ‘THE WHITE LOTUS’

He might have regretted imparting such shallow values onto his group, but he remained unchanged. Saxon’s transformation appeared remarkably inauthentic. Carrying a “book” during the climax as if it was a sacred artifact seemed like a lazy writing habit. And that incest subplot? It was a cheap attempt to grab attention, typical of modern television.

Meaningless. Hollow. Fake.

An engaging story doesn’t stretch out character development over long periods. It’s essential to strike a balance between efficiency and understanding of human behavior. The women in their forties demonstrated this perfectly. Occasionally, poignant instances of self-realization surfaced, such as the “oh dear, I voted for Trump” epiphany.

Rather than enduring season after season, I prefer to pass on shows where the dialogue is dull and characters are arrogant.

In the scenario, I found myself wincing as Rick attempted to deceive the elderly matriarch by passing off his friend as a movie producer, without even rehearsing the charade beforehand. Yet, let it be known that Rick isn’t lacking in intelligence.

White’s recent comments defending Season 3 reveal an arrogance that clearly infected his show.

Khachatrian: I’m not going to justify every detail of the plot, but let’s entertain the idea that Timothy’s actions are those of a mind dulled by Lorazepam, which had only recently wavered from contemplating the murder of his family; such psychic abilities as clairvoyance are rarely found in such circumstances.

Furthermore, “The White Lotus” doesn’t focus on realistic storytelling. Instead, it presents a world that’s exaggerated, using satire, symbols, and sometimes the bizarre. The characters aren’t bound by conventional logic because they’re not intended to be realistic representations.

In essence, Timothy’s storyline doesn’t conclude with a dramatic turn of events like a triumphant redemption or tragic fall. Instead, he neither lashes out at his family for their superficiality nor expresses regret for molding them in his own image. Instead, in a moment of quiet realization, he understands that his wealth has been lost but his family remains – perhaps this understanding is enough for him.

Instead of being neat or providing a sense of release, it’s quite the opposite. That unexpected outcome is precisely the idea. In real life, many individuals do not develop; they simply find contentment in what they have.

Regarding Saxon, I believe his most memorable scene was when he emotionally reacted upon seeing Chelsea jumping into Rick’s embrace. The way White portrayed him as genuinely human in that moment, after a series where he had been portrayed as a stereotypical figure created by hedge funds, stood out to me as one of the season’s most subtle yet powerful moments.

Concerning the controversial “incest scene” – indeed, it’s startling. However, surprise or shock is something this series often delivers, not an accidental aspect. The hotel manager incident in Season One, the uncle affair in Season Two – Jaime White has consistently been testing boundaries with each new season.

The charm of The White Lotus comes from its unique blend of intrigue – the flawed personalities, their questionable actions, and the compulsion viewers feel to continue watching despite being repelled.

I find that, rather than being the most efficient way of narrating, it’s undeniably authentic and reflective of our humanity. It’s messy, it’s leisurely paced, and often leaves questions unanswered – much like the lives we live ourselves.

In my appreciation, I’m Harry Khachatrian – a dedicated film critic contributing to the esteemed Washington Examiner’s Beltway Confidential blog. Beyond my passion for cinema, I hold an MBA from the prestigious University of Toronto. When I’m not immersed in the world of films, I indulge in another love: wine. In my leisure moments, you can find me penning down thoughts and insights at BetweenBottles.com.

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2025-04-13 05:03