The White Lotus Knows What You’re Here For

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The entirety of the Thailand resort depicted in ‘The White Lotus’ stirs feelings of both covetous desire and uneasy nausea. The pool sparkles immaculately, and there are an abundance of cocktails and fresh fruit at breakfast. Monkeys frolic in the trees above the lavish guest bungalows. Offering hot stone massages, private yoga sessions, and every conceivable luxury, this place is also home to a multitude of rich individuals who are self-absorbed, rude, and entitled. They can be seen lounging around, seeking status and personal growth while being oblivious to their own flaws and those of others.

In contrast to the Sicily and Maui resorts featured in previous seasons, this fictional establishment emphasizes wellness. This allows creator and writer Mike White to explore themes such as wellness influencer culture, digital detoxing, the appropriation of Buddhist spirituality by Western tourists, and luxury tourism that caters to specific bodily needs like sex work or medical procedures. In doing so, ‘The White Lotus’ has earned a reputation for being both visually stunning and complex in its portrayal of travel promotion.

In contrast to the anticipation of fresh developments, season three of the show seems to be characterized more by its recurrence to past events. At times, these repetitions seem essential, as the series strengthens itself into a franchise. Once again, we find ourselves at the dock, greeting the arrogant and unfulfilled wealthy guests who’ve arrived to spend their money on temporary joy. Here is the concierge, the strained marriage, the water symbolism, the suggestive novel being read by the poolside. These elements are often intentional – clever and cunning reinterpretations of earlier themes and character archetypes, presented in new forms and with knowing nods to the past. It’s during these moments that The White Lotus shines brightest this season, when it’s playful, chaotic, and self-aware about the comfort of established norms, yet also the weight they can carry.

This time around, the unique interpersonal dynamics are primarily driven by Laurie (Carrie Coon), Jaclyn (Michelle Monaghan), and Kate (Leslie Bibb), three long-standing friends who are embarking on a trip together that isn’t about midlife crises or turning 40; instead, it’s a “victory tour.” The author excels in portraying the hidden aspects, grudges, and societal nuances of affluent women, and is spot-on with these performances, striking the ideal balance between realism and caricature that we’ve come to expect from ‘White Lotus.’ Each character is a convincing blend of vulnerabilities and ambitions, and this season excels at depicting the volatile nature of a three-person friendship, where friends constantly shift into pairs to comment on or engage with the third. Every new sarong, swimwear choice, and hat selection carries significant meaning and insight.

In each alternate group of characters, “The White Lotus” revisits familiar themes and character types, much like a kaleidoscope showcasing different aspects of privilege. Jason Isaacs portrays Tim Ratliff, a wealthy businessman with an unstable mindset whose accent fluctuates between his British origins and a North Carolina drawl, settling typically near Sydney. His wife, Victoria, played by Parker Posey, has taken on the humorous role vacated by Jennifer Coolidge, popping Lorazepam excessively. Their children – Lochlan (Sam Nivola), Piper (Sarah Catherine Hook), and Saxon (Patrick Schwarzenegger) – are driven by rivalry, ambition, and mutual disdain that sometimes suggests something more than just dislike.

Lochlan and Piper share similarities with season one’s Quinn Mossbacher, the young man who abandoned his wealthy family to sail off into the ocean. Victoria somewhat resembles Tanya McQuoid in her performance and style, but Rick (Walton Goggins) exhibits some traits of Tanya in his storyline, as a rich man with an adorable younger girlfriend (Aimee Lou Wood), yet preoccupied with an unspoken ulterior motive.

Similar to season one, there’s a budding romance between two staff members: security guard Gaitok (Tayme Thapthimthong) harbors feelings for spa staff member Mook (Blackpink’s Lalisa Manobal), which unfortunately distracts him from his duties. Notably, Natasha Rothwell reappears as Belinda, the spa manager from season one, now on a work trip that allows season three to maintain continuity with earlier storylines despite Tanya’s tragic demise at the hands of a murderous gay cruise.

Indeed, there’s another layer to explore now, wrapped in a veil of intrigue. The premiere episode sets the stage not only for determining who meets their end, but also for revealing the identity of the gunman. This aspect really highlights the series’ knack for patterns, symbolism, and self-referential storytelling, turning season three into a treasure trove of theories, speculations, red herrings, and unexpected twists. In the four out of six episodes released to critics so far, several characters appear equally suspect, each with enough motive and potential triggers for violence. Characters that seem destined to be victims are plausible in their own right, each one intertwining with possible perpetrators in intriguing ways, all backed by a plot that continues to unfold convincingly. With its rich history now established, The White Lotus can skillfully manipulate its past, making the enigma of this show even more captivating than before.

In a unique twist, The White Lotus series seems to undergo structural changes which make it enjoyable, yet at times, there’s a sense of unease as the show grapples with revisiting its past themes or overlooking recurring blind spots, much like repeatedly pressing on an old injury to confirm its presence. Throughout each season, Mike White demonstrates a genuine conviction in travel’s transformative potential, encouraging openness towards diverse cultures and non-western spiritual practices. However, he also acknowledges the lingering impacts of imperialism, objectification, commercialized spirituality, wealth disparities, and the elusive concept of authentic tourism experiences. The struggle to reconcile his sincerity with these complex issues seems to be a burden he finds difficult to manage effectively.

The way White represents characters of color remains contentious, a topic that resurfaces in season three, following criticisms from the first season about his portrayal of Indigenous Hawaiian characters and now more pointedly in an Asian setting. While much of season three appears to be a deliberate reiteration of White’s previous themes, it sometimes feels like he is unintentionally repeating past mistakes – like touching a hot stove he can’t help but return to. Characters in this season seem to recreate the dynamic from season one where white characters exhibit intriguing, captivating quirks, while non-white hotel staff are stereotyped as flat, one-dimensional characters, serving only to advance the plot without any depth or complex emotions. It’s disappointing that despite the show’s attempts to challenge its own patterns, it still slips back into some regrettable old habits.

The third season of “The White Lotus” is far from perfect, with its quirky, somewhat risqué, and slightly outdated elements. It seems to suggest deeper themes about wealth, cultural consumption, and finding purpose, but it may only scratch the surface. If the show continues in the same vein as its previous seasons, it might not fully explore these complexities. However, like its first two seasons, “The White Lotus” excels at being entertaining above all else – stimulating discussions, analysis, criticism, and curiosity, as well as frustration. Perhaps there’s a deeper meaning hidden beneath the surface, perhaps not. But even so, it might still be enough to make for enjoyable viewing.

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2025-02-11 19:54