Critics’ Conversation: ‘The White Lotus,’ ‘The Pitt’ and Other Winter TV Downers and Distractions

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ANGIE HAN This winter’s atmosphere is not just chilly; it’s downright tense and suspicious, a description that might even be too mild.

In everyday life, a significant portion of the nation has been alarmed as President Donald Trump and Elon Musk have systematically undermined, damaged, or disrupted institutions that were once perceived as stable and trustworthy, even if they had their flaws. Now, there’s a growing sense of unease about whether planes will unexpectedly crash, if Canada might attack us, or if a young crypto investor could secretly drain funds from your bank account without warning.

Simultaneously, without us actively paying attention to current events, a significant portion of our entertainment has mirrored our apprehensions back at us. Shows like Hulu’s “Paradise,” starring Sterling K. Brown, and Netflix’s “Zero Day,” featuring Robert De Niro, have unfurled complex conspiracies that implicated high-ranking government officials, rich tycoons, and crooked politicians. Does this scenario resonate with you? On the other hand, in the corporate world, the second season of Apple TV+’s “Severance” and Adult Swim’s “Common Side Effects” have found dark humor and nail-biting tension in the notion that corporations might have no boundaries when it comes to their atrocities — they would betray, violate, or even kill anyone, if necessary.

Even Max’s typically motivating and fresh medical drama titled “The Pitt” serves up a generous portion of suspicion towards institutions: Although the doctors might appear heroic, a healthcare system that professes to focus on “patient satisfaction” but withholds necessary resources from hospitals raises concerns.

Sometimes it seems like I’m caught up in an unending chapter of my own “Traitor’s Game,” where I can’t tell who’s friend or foe, just like the latest suspenseful show on air.

Hey there! I’m curious, Dan, what TV series have been resonating with your feelings of confusion and disappointment lately?

As a passionate viewer, I can’t help but notice that television in 2025 has taken boldness to a whole new level. It seems like every corner of the small screen is filled with in-your-face messages of mistrust and warning signs. In shows like Zero Day, the cyberattack carries a chilling message: “THIS WILL HAPPEN AGAIN.” Characters in Paradise even seize control of the sky to alert the blissfully unaware community about the deception they’re living under: “THEY’RE LYING TO YOU.” And in Severance, Adam Scott’s character spends an entire episode trying to etch a warning into his retinas: “Who is alive?” It seems like these shows are urging us to stay vigilant and question everything.

As a gamer immersed in the captivating world of television, I’ve noticed that this winter’s shows have a unique blend of intrigue and relatability, catering to viewers across the political spectrum. While some of these series debuted during Trump’s second term, they were primarily developed and produced under Biden’s administration, rising from the ashes of COVID-19 shutdowns and Hollywood labor disputes.

Shows like Zero Day, for instance, present a fictional president with early signs of cognitive decline. This allows viewers to subconsciously project their own political beliefs onto the character, interpreting it as a critique of their opposition rather than their chosen leader. In the alternate reality of Zero Day, terms like “Democrat” and “Republican” are conspicuously absent.

It’s clear that an unselected billionaire is, as you point out, tearing down our institutions – and given the popular TV shows today, it’s no wonder he gets away with it. Shows like “The Night Agent” (Netflix), “The Recruit” (also Netflix) and “Reacher” (Amazon) depict a world where organizations such as the CIA or FBI can be helpful, but it’s the independent vigilantes who ultimately succeed in saving the day. (Please note that this is different from NBC’s “The Americas”, a documentary series about real wolves in nature who are simply living their lives independently.)

Angie, do you think the increasing fearfulness portrayed on TV is beneficial – either making you aware of more things to worry about or confirming what you’ve believed already? More crucially, have you managed to find someone reliable enough to confide in?

HAN I’d say the term I prefer is “relieving.” It’s gratifying when I find myself complaining once more about the high cost of healthcare even with good insurance, to witness Common Side Effects expose Big Pharma’s relentless greed. Or to see Netflix’s flawed series Apple Cider Vinegar connect that greed to the con artists exploiting vulnerable individuals who no longer trust the medical community to care for them. The reason the inner circle in Severance didn’t find the “Lumon Is Listening” video reassuring becomes clear. When we ourselves can see problems, it feels so much more validating to hear someone else admit they notice too, rather than having them claim everything is okay when we know it isn’t.

To address your argument, even the most cynical among us occasionally require a sense of belief or faith in something. Thus, I appreciate shows like Showtime’s Yellowjackets, which brings me back to realizing that no matter what’s happening globally, we can always count on teenage girls to exhibit intense emotional turmoil. Similarly, HBO’s The White Lotus continues to deliver the timeless pleasure of observing the wealthy and unhappy. Cheers to SNL50 for confirming that there remains a cherished, or at least tolerated, American tradition that endures.

While the abundance of self-celebratory projects – a four-part docuseries, a standalone documentary feature, a musical concert, and a three-hour special – may have been somewhat exhausting, it has also been heartening to witness the outpouring of affection from both ordinary viewers and A-list celebrities for a show that, despite its flaws, has brought us much delight over the years.

Dan, where are you finding comfort these days?

In the current era of medical television shows, it’s frequently emphasized that administrators should not pressure doctors to prioritize patient satisfaction surveys. Yet, if I were to complete such a survey, The Pitt would likely rank among my top choices. It might seem surprising that a show with graphic scenes like a degloved foot and a roach in someone’s ear, or a character who is constantly covered in bodily fluids, could provide comfort. However, led by the talented Noah Wyle, whose years of experience on ER shine through, The Pitt provides solace during a time when we are often told that institutions are falling short. It serves as a reminder that even in the midst of bureaucratic challenges, dedicated individuals can still perform acts of kindness and compassion.

These Netflix political thrillers, such as “The Night Agent”, “The Recruit”, “Zero Day”, and the standout among them, “The Diplomat”, are comforting in their own way. Despite the fact that corruption can permeate to the highest levels in both fictional and real worlds, these shows remind us that determined individuals can make a difference. To be clear, I don’t necessarily subscribe to this ideology in my personal beliefs, but I do find satisfaction in a well-crafted genre show that doesn’t need to be overly complex to keep its audience engaged.

In the case of Amazon’s series ‘Reacher’, the protagonist is primarily known for his immense size. However, what sets it apart is the portrayal of an adversary who dwarfs even this towering figure. Indeed, the show lives up to its promise in this regard. Similarly, ‘The White Lotus’ can be both intricate and remarkably straightforward – picture dropping affluent individuals in a picturesque setting, with the guarantee that one of them will meet an untimely demise. The performances are what truly make it engaging, regardless of the world’s complexity (the third season, set in Thailand, takes a few episodes to find its rhythm).

A skilled ensemble can elevate a show from being forgettable to becoming a beloved favorite, especially when the series isn’t striving for anything extraordinarily innovative. With an abundance of new procedurals emerging lately, it seems fitting considering their familiar and comforting formula that guarantees resolution of the antagonist or mystery within 44 minutes or less. However, while NBC’s Suits LA and The CW’s Good Cop/Bad Cop may aim for similar enjoyable experiences, the former fails to strike the right balance between humor, drama, and quirkiness for its actors; on the other hand, the latter excels due to the captivating chemistry between Leighton Meester, Luke Cook, and Clancy Brown, making me feel so warmly enveloped that I yearned to embrace it like a comforting blanket.

In today’s world filled with many real-life antagonists, even the creator of Walter White, Vince Gilligan, is advocating for fewer villains and more characters like George Bailey and Andy Taylor instead. While I’m not implying that the politically neutral series “Good Cop/Bad Cop” provides deep insights into our current situation or that the medical professionals from “The Pitt” can miraculously heal America’s issues, or that Jack Reacher’s fisticuffs are the solution to all problems – they do serve a purpose in our somber cultural climate. Tales that underscore humanity’s capacity for wickedness are striking a chord today, but it’s comforting to be reminded of our capacity for kindness, goodness, and humor as well.

You can find this article in the February 26th edition of The Hollywood Reporter magazine. To get future issues, consider subscribing here.

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2025-02-25 17:55