‘The White Lotus’ Review: Scathingly Good Acting Helps Rescue Thailand-Set Season 3 of Mike White’s HBO Series From Fatigue

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If you complain about the trend of movie and TV show reboots or remakes for a while, someone might eventually mention the same issue in relation to theater.

It seems oddly limiting to label as creatively barren the reinterpretation of shows like “Doogie Howser, M.D” or “American Gigolo”, yet productions of classics such as “Macbeth”, “Oedipus”, or “Oklahoma!” are frequently revisited in cycles. It’s not that we’re hoping these young lovers in “Romeo & Juliet” will survive again, but rather to witness how a fresh director and cast breathe new life into the material, leaving their unique mark on the story. Through innovative interpretations of familiar tales, we can still be touched or amazed.

It may be worth considering that when approaching Mike White‘s new season of The White Lotus.

After over two years, the satirical anthology series from HBO, initially labeled as a “drama” for Emmy nominations, is set to return this weekend. It might encounter some critique for its narrative structure seeming repetitive or predictable.

The first episodes suggest a chilling beginning involving an unexpected death, which leads into the exploration of a group of privileged, predominantly white, American characters, who are mostly wealthy and self-absorbed. They are trying to find solace in the extravagant isolation of a high-end resort. White masterfully critiques their parasitic lifestyle. However, it seems that some archetypes and commentary presented in these six episodes may have grown familiar or comfortably established.

As a devoted viewer of “White Lotus,” I must confess that what truly captivated me wasn’t the season-long enigma, which failed to pique my interest even during its initial airing. It wasn’t the playful exploration of societal taboos either, nor the predictable twists and turns. While I can appreciate these elements, they were starting to feel familiar. What continues to intrigue me, however, is the unique perspective that each episode offers.

Instead of Ryan Murphy consistently using the same actors across different roles, White prefers a diverse cast for each season. The delight of watching his morally questionable characters, played by talented and frequently changing actors, against beautiful settings remains strong. Notable performances from the third season include Walton Goggins, Parker Posey, Carrie Coon, Patrick Schwarzenegger, and Aimee Lou Wood, among others, moving to the rhythm of Cristobal Tapia de Veer’s almost tribal soundtrack.

Following the show’s hint that later there will be gunshots and a corpse found in a meditative pond, we swiftly rewind events to introduce the characters who are scheduled to spend a week at the luxury White Lotus Thai wellness resort.

The Ratliff family, hailing from North Carolina with distinctive accents reminiscent of nobility, make their entrance by boat. Heading the family is wealthy Timothy (played by Jason Isaacs), followed by anxious Victoria (Posey). Their bro-ish eldest son, Saxon (Schwarzenegger), is present, along with Lochlan (Sam Nivola), a teenager in high school who slouches around. Piper (Sarah Catherine Hook), a college student with spiritual leanings influenced by Buddhism, is also part of the family. The group also includes Jaclyn (Michelle Monaghan), who’s reconnecting for a week with old friends Laurie (Carrie Coon) and Kate (Leslie Bibb). Rick (Goggins) and his girlfriend Chelsea (Wood) maintain their distance, unaware that the location they’re going to is known for its stereotype of “balding, middle-aged men with young, attractive companions.

At the resort, it seems everyone claims to be there for massages, yoga, and therapy, but beneath the surface, they’re hiding agendas, secrets, and escaping from personal struggles. What’s more, they all carry a stockpile of sharp words, ready to lash out at both strangers and their closest companions.

Not every character is selfish; let me clarify. From the initial season, we have Belinda (played by Natasha Rothwell), who has been a shining beacon of morality throughout the series, adding consistency to its darker aspects. You might remember she formed a bond with Jennifer Coolidge’s Tanya, but was left hanging about Tanya’s pledge to fund her own spa. As we’re aware, Tanya’s storyline unfolded in season two, but Belinda isn’t privy to this information yet; instead, she’s traveling to Thailand as part of a White Lotus global exchange program.

Following the initial “White Lotus” season receiving criticism for minimizing Hawaiian native representation, mirroring how tourists like those portrayed often ignore the authentic world beyond their vacation retreats, the second season introduced characters such as Valentina (Sabrina Impacciatore), who harbors unrequited love, and morally ambiguous Lucia (Simona Tabasco) and Mia (Beatrice Grannò).

In a nutshell, “Thailand’s Season” balances its narrative around a delicate, thinly-woven love story between characters Gaitok (played by Tayme Thapthimthong) and Mook (Lalisa “Lisa from Blackpink” Manobal), who are resort employees. The show also highlights the majestic presence of Sritala (portrayed by Lek Patravadi), one of the resort’s co-owners. However, the local characters aren’t fully developed, which seems to oversimplify their roles. This lack of complexity may not make optimal use of the talented actors, particularly Manobal, who possesses abundant charisma but has limited opportunities to showcase it. Even in an episode that hints at Mook participating in the resort’s entertainment, we see very little of her, and the same goes for one of the most globally recognized celebrities.

The show ‘The White Lotus’ portrays its characters as individuals who prioritize material needs over deeper connections or spirituality. In the first season, the Hawaiian setting highlighted the guests’ cultural void, while in the second, Italy underscored their lack of historical roots. Thailand, with its abundance of temples, shrines, and monasteries, reveals a lack of spiritual completeness among most characters, except for Piper who seeks answers in Buddhism. The characters are so consumed by basic desires – drinking, sex, work emails – that they barely acknowledge the beauty around them. It could be argued that ‘The White Lotus’ takes a shallow perspective on Thailand, its customs, and its struggles, or that the characters themselves are insular. However, one might lean toward the latter view while hoping for more complexity in this longest season of the show yet.

In the opening acts of this season of “The White Lotus,” I’ve found the pacing to be quite deliberate, leaning more towards character development than rapid plot progression. This is partly due to the show’s character-focused design and its knack for meticulously foreshadowing every looming tragedy. But what really got me thinking was how the Ratliffs seem to mirror the Mossbachers from last season, both families being entangled in each other’s private affairs a tad too closely for comfort. And let’s face it, there’s something uncannily reminiscent of Jon Gries’ character Greg in Rick’s desperate demeanor.

White recognizes the reverberations he’s incorporating into the broader universe of White Lotus, but sometimes it’s hard to distinguish whether these echoes are foreshadowing, distractions, or repetition of previous work. It’s likely a blend of all three aspects.

Instead of relying on a basic game of hinting with a gun or menacing references to natural disasters, White skillfully employs the sharp edge of his incisive dialogue to create tension much more powerfully. The imagery of lizards, monkeys, and the sad reminder of the 2004 Thai tsunami serves as a backdrop, adding depth and atmosphere to the suspenseful narrative.

It seems that I can fully appreciate “The White Lotus” without any additional things. What truly captivates me are three old friends constantly discussing each other’s lives in various combinations (and occasionally referring to Donald Trump and the real world), Saxton’s nosy curiosity about his siblings’ intimate matters, or Rick’s harsh behavior towards a woman who believes he’s her soulmate. I find myself watching more for the pleasure of seeing others suffer, or on rare occasions, hoping for their redemption, rather than trying to figure out the identity of the floating corpse. As long as the cast resonates with White’s perspective, they usually do.

Performances can generally be categorized into two main types: comedic ones that are filled with humor, such as Posey’s portrayal dripping with arrogance from the Deep South or Wood’s character in Sex Education radiating carefree optimism despite facing adversity. On the other hand, there are performances that truly shine during intimate interactions, like Coon, Bibb, and Monaghan playing the role of the three “cougars.” They share similar quirks, inside jokes, and personal insecurities, making their on-screen dynamic engaging and relatable.

Goggins, with his twitchy and drained perfection, blends seamlessly with anyone, be it Wood or a potential Emmy-winning midseason guest star I’d rather not reveal. It appears that Schwarzenegger has never been more fittingly cast than as a tense Patrick Bateman-like sociopath hiding a delicate vulnerability. Isaacs delivers an outstanding performance, revealing his character’s fragility almost instantly (although it’s important to note that his Southern accent fluctuates from Foghorn Leghorn to nonexistent, depending on the scene).

Following COVID-related production limitations, White has delightfully showcased a variety of settings. As the story progresses and characters embark on lengthy yacht voyages or make unexpected stops in Bangkok, the scenery is opulent and expertly captured. In fact, even when characters are simply at the resort, cinematographer Ben Kutchins skillfully highlights elements such as the playful monkeys and lavish morning buffet spreads, which by now have become just as synonymous with White Lotus as intrigue and secretive storytelling.

Viewers who might find the beginning of the season a bit sluggish can be confident that things quickly escalate, particularly around episodes five or six, which are filled with tension that’s almost explosive. Will the impending catastrophe resemble past iterations of White Lotus? It’s uncertain, but if you embrace the fun in deciphering the story, it’s worthwhile to watch this new cast navigate the poisonous pleasures that Mike White is known for providing.

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2025-02-11 19:28