The White Lotus - 2025 February

2,600 years ago, in Homer’s epic poem, The Odyssey, I stumbled upon a tale that still resonates today – the story of the lotophagi, or the lotus-eaters. On one of Odysseus’ many journeys, he found an enchanting island with a fruit so alluring it made those who consumed it lose their desire to return home. I quickly ordered my crew back onto our ship, fearing they might taste the lotus and forget about returning home. Fast forward to modern times, Mike White has taken this ancient tale and given it new life in the HBO series, The White Lotus. This thought-provoking show perfectly encapsulates the emptiness and spiritual disillusionment that seems to be a part of our late capitalist society.

The third season of the series unfolds in a distinct branch of the lavish resort chain, this time in Thailand. This location offers an intriguing contrast, exploring conflicts between Eastern and Western cultures, materialism and spirituality, as well as differences between first-world and third-world societies. The season significantly intensifies all aspects of the show, pushing its themes to the brink and crafting some of the most gripping and intense storylines yet. Consequently, it can be said that this season is less subtle than its predecessors, often bordering on epic in its dramatic portrayal. In essence, it’s almost as grand as an Homeric tale at times.

Despite some claims suggesting otherwise, White appears to take greater inspiration from Alfred Tennyson than Homer. In Tennyson’s poem “The Lotus-Eaters,” he paints a picture of a land where everything seems perpetually unchanging, and sailors opt for the lotus instead of life. They question, “Why are we burdened with heaviness and consumed by sharp distress, while all else finds rest from weariness?” The idea is: Why labor in a miserable world when you can reside at The White Lotus? Isn’t it more desirable to be rich without any troubles? However, the third season of the show offers a far more exhilarating rebuttal to this notion, even if it seems somewhat repetitive.

Meet the New Lotus, Same as the Old Lotus

Without a doubt, you’ve got a pretty good idea about what’s in store for Season 3 of The White Lotus. Wealthy families are bound to clash and uncover hidden truths about themselves. The fragile bonds of a relationship will be put under the microscope, revealing its deep-seated issues. Economic differences among characters will create an uneven power dynamic. The local culture, rich in history and soul, will starkly contrast with the superficial materialism displayed by wealthy Americans. A theft is on the cards, with someone secretively invading another’s privacy. As characters intermingle, tension escalates, eventually leading to some form of conflict or violence.

In essence, Season 3 of The White Lotus follows a familiar pattern, which is inherent to the series itself, as suggested by its tagline: “Same luxury, new reservations.” Essentially, if one expects something different from this show, they might be better off watching a different program altogether. Comparing it to American Horror Story, it’s like wanting another season without any horror elements in America. What truly makes each season of The White Lotus engaging is the depth and intrigue of its characters and their narratives, which consistently explore the show’s central themes. This season stands out, with the exception of one character group and their subplot, as everything else is well-executed. Additionally, we encounter characters and events that connect the three seasons and are captivating to witness unfold.

In Season 3, you’ll find numerous motifs influenced by Thai Buddhism with its roots in Hindu philosophy, such as the concept of self-illusion, the boundaries of personal identity, coping mechanisms for pain, and worldly attachments. This resonates intriguingly with some themes in Mike White’s previous work, “Enlightened.” Although these ideas are explicitly discussed in just a few scenes, they subtly seep into the season’s compelling storylines and captivating characters throughout.

The Masterful Acting in ‘The White Lotus’

In the initial moments of Season 3, there’s an indication that it’s bigger and more daring than its predecessors. Unlike earlier seasons where only one coffin or dead body was shown, this season seems to open with a mass shooting or intense gunfight. However, before things get resolved, we are transported back a week to when the guests initially arrive at the resort. Given that Season 3 delves deeper into the theme of death compared to its predecessors, it’s not surprising that there are multiple potential victims and deadly scenarios in this installment. Death is portrayed as both a liberating experience and a just retribution, depending on who experiences it.

This time, the cast of The White Lotus has delivered exceptional acting once again, maintaining one of the series’ standout elements: remarkable performances from an unanticipated group of actors. Past seasons saw some actors delivering their finest work ever (Murray Bartlett, Steve Zahn, Alexandria Daddario, Jennifer Coolidge, Michael Imperioli), and this trend is taken to new heights in Season 3 with the show’s most impressive performances yet.

The Ratliff Family Falls Apart

Observe: The Ratliff family serves as an impressive demonstration of acting skills. Jason Isaacs and Parker Posey are exceptional, portraying a wealthy, nonchalant couple; initially, their Southern accents seem a tad absurd, but soon enough, the dialect fits perfectly with their characters. Posey is uproariously funny as a drug-dependent Southern belle whose persona merges inextricably with her belongings, while Isaacs delivers an intense performance as a businessman concealing his ongoing investigation. They take on the roles of three diverse children, all of whom are thankfully more palatable and convincing compared to the irritating “beautiful brats” played by Sydney Sweeney and Brittany O’Grady in Season 1.

Sarah Catherine Hook portrays Piper Ratliff, a character whose research in comparative religion provides a pretext for the family journey. Patrick Schwarzenegger delivers humorous performances as Saxton Ratliff, an arrogant frat-bro type. Sam Nivola plays Lochlan, a somewhat mysterious and uneasy character who seems to lack an identity beyond his connection with his siblings. The plot unfolds in unexpectedly funny and intriguing ways, with Episode 5 expected to generate significant buzz online.

Familiar Faces Join the Mysterious Walton Goggins & Lovable Aimee Lou Wood

Initially, Walton Goggins portrays a gruff character, Rick Hatchett, who seems the most miserable guest ever at the White Lototus resort. However, his character undergoes an intriguing transformation that culminates in something quite fascinating. Essentially, he’s a man with a clear objective (which later includes an impressive appearance by someone who delivers one of the series’ most memorable speeches). The troubled life of Rick aligns neatly with the season’s central themes. He has a questionable relationship with the younger Chelsea, who appears to tolerate his mistreatment excessively. Portrayed brilliantly by Aimee Lou Wood, Chelsea embodies a free-spirited individual, blending her hippie astrology with codependency to create one of the most authentic and sincere characters in The White Lotus.

In an intriguing turn of events, Chelsea forms a charming bond with a captivating model, portrayed by the talented Quebec actress Charlotte Le Bon. Both characters are involved with gruff and potentially menacing older Americans in their respective relationships; these individuals have appeared previously throughout the series and play pivotal roles in this season.

This season isn’t just introducing new faces – we also revisit Natasha Rothwell’s character Belinda, who made a sad appearance in Season 1. Tanya (Jennifer Coolidge) befriended Belinda but dropped her when she had a man (portrayed by Jon Gries as the villainous Greg). This time, Belinda is here for a cultural exchange between the Hawaiian White Lotus and the one in Thailand. It’s delightful to see her enjoying herself, although things start to get tense.

The Weak Autopilot Settings in ‘The White Lotus’ Season 3

Among the characters, there’s a less captivating trio, skillfully depicted with depth by talented actors: Carrie Coon as Laurie, Michelle Monaghan as Jaclyn, and Leslie Bibb as Kate. From the start, it’s evident that Jaclyn is a well-known actor who has footed the bill for her two friends’ holiday at The White Lotus. Although this financial difference isn’t openly addressed, it casts a shadow over their interactions, which are predominantly filled with repeated backbiting and gossip. This group and their narrative arc seem to adhere to the typical formula of the series and appear to be scenes that were trimmed for time from Season 1.

In this season, we find the local resort employees continuing their roles, much like previous seasons. However, the focus has shifted away from them significantly, centering instead on a tenuous romance between Mook (Lalisa Manobal), a wellness expert, and Gaitok (Tayme Thapthimthong), a security guard who is both likable yet often underestimated. Additionally, Belinda may find romantic interest elsewhere. The resort staff, who were standouts in Season 1, added depth to Season 2; unfortunately, in Season 3, these characters seem more like plot devices than fully-fleshed individuals, giving the impression that the show is operating on autopilot.

In this scenario, we have Sritala (Lek Patravadi), a former successful singer and actor who now owns a luxurious resort. She is skillfully portrayed by Christian Friedel in an unconventional manner, a stark contrast to his critically acclaimed role in “The Zone of Interest“. Despite being a versatile actor like a chameleon, Friedel’s screen time here is limited. Thapthimthong steals the show as Gaitok, whose story intertwines significantly with the guests in dramatic fashion. The series also explores the stark differences between the resort staff and the wealthy guests, although it may not be as heavily emphasized as in previous seasons.

What Is It About Watching Wealthy People?

It’s fascinating, isn’t it, how often we find ourselves drawn to stories about the affluent? Shows like “The White Lotus” are just a few examples. We observe their lives when they’re freshly wealthy (“The Beverly Hillbillies“), struggling (“Schitt’s Creek“), morally complex (“Succession“), virtuous (“Downton Abbey“), historical (“Bridgerton“) or futuristic (“Westworld“), authentic (“The Kardashians“) or artificial (still “The Kardashians)” Perhaps it’s a matter of aspiration and daydreaming, experiencing vicariously the lives of the rich and famous. Or maybe it’s an old-fashioned sense of schadenfreude, seeing that they, too, face hardships; as Ernest Hemingway wrote in “The Snows of Kilimanjaro“, the only real difference between us and them is that they have more money.

Perhaps it’s more about anthropology, observing these unusual beings within their environment, so distinct from ours. This was a part of F. Scott Fitzgerald’s thought process, most eloquently articulated in his tale titled “The Rich Boy“.

I’d like to share some thoughts on the wealthy. There’s a significant gap between their experiences and ours. They tend to acquire wealth early in life, and this shapes them in unique ways – they become softer where we remain tough, and cynical instead of trusting. Unless you were born into wealth, it can be challenging to grasp these differences. Deep down, they often believe themselves superior to us because they didn’t have to struggle to find solace and contentment as we did. Even when they mingle with our circles or fall below our station in life, this sense of superiority lingers.

The White Lotus stands out among shows about the wealthy by grasping the nuances of difference better than most. In addition, it delves deeper into the subject matter, exposing how America’s extreme prosperity has led its elite to become detached from the rest of the world. These individuals are spiritually and psychologically insulated, finding it challenging to genuinely engage with other cultures, lands, people, or even themselves. As the abbot expresses in Season 3, young Westerners have come to recognize the spiritual decay brought about by late capitalism and seek solace in Buddhist temples and other means of reconnecting with the world.

The Audience Is the Target

The intriguing paradox is that the show is widely popular among affluent individuals, those who can afford HBO and Max subscriptions and appreciate ‘high-end television.’ It has garnered 15 Emmy Awards out of 44 nominations, with each winner receiving applause from a crowd of rich and famous peers. Many esteemed and wealthy actors aspire to be part of the series. Each episode in Season 2 reportedly cost over $5 million to produce. Executives and managers worldwide, who are part of capitalism and work to maintain the working class’s subjugation, enjoy watching the show with their partners, and it seems they can relate.

Perhaps “The White Lotus” is serving as a reflection rather than a depiction for its viewers, allowing them to feel enlightened while subtly reinforcing their own biases. In truth, everyone watching, including themselves, are entangled in the same web of pretentiousness and self-righteousness, much like the characters on the show. Yet, despite its critical acclaim and anticipated success, it’s crucial to remember that this series is more about revealing our true selves than offering a mere portrayal. “The White Lotus” returns on Sunday, February 16 at 9 p.m. EST/PST on HBO, streaming on Max, with new episodes airing weekly until the eighth and final episode on April 6, 2025. You can watch “The White Lotus” through the link provided below:

Watch The White Lotus

2025-02-11 19:03