‘The White Lotus’ Season 3 Is Extra Ambitious, but Gets Off to a Slow Start: TV Review

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Each season of “The White Lotus” represents an escalation in ambition. The initial, Maui-based season of this HBO anthology was essentially a COVID-19 contingency plan, molded by the urgency for swift production and physical distancing. Following its acclaimed success that catapulted creator Mike White into the elite group of high-end TV showrunners, Season 2 dared to explore beyond familiar territories, both geographically (in Sicily) and thematically, as it delved into various locales across the Italian island.

In its third installment, titled after a fictional luxury resort chain, the upstairs-downstairs drama, “The White Lotus,” further explores and deepens the narrative. Principally filmed at the Four Seasons in Koh Samui, Thailand, this season offers some of the most breathtaking backdrops yet, with additional scenes shot off-site in Bangkok, at nightclubs and on extravagant yachts – luxurious, high-density environments that were once a distant aspiration during the Hawaiian episodes. Each season has showcased a progressively larger boat, symbolizing the expanding scope of the series. This third season is also longer, with eight episodes compared to seven in the previous ones, making it the most extensive yet.

However, unlike previous seasons which delved into themes such as class and power struggles, Season 3 of “The White Lotus” shifts its focus to the subject of spirituality. The opening scene hints at a murder mystery, but this time the intrigue is more intense than ever before, with White even using a literal Chekhov’s gun in the plotline. Unlike earlier seasons where characters sought wealth or power, this season explores how the wealthy guests attempt to find inner peace, perhaps through seeking freedom from desire or understanding the causes of their suffering. This introspective approach is surprising given that the series has been known for its accumulation of resources.

White’s talent for drama and keen eye for human flaws make these themes feel organic rather than contrived. However, they do require a significant build-up, particularly as more characters join the cast. The third season is less captivating at first glance compared to previous ones; perhaps White is banking on our patience since a fourth season has been confirmed. But once the plot solidifies and gains momentum around halfway through, it’s just as explosive and unforeseeable as any of White’s past explosions.

In the same vein as a top-tier luxury service, “The White Lotus” prioritizes its guests’ needs. This season presents three distinct sets of visitors: a well-off family consisting of Jason Isaacs and Parker Posey, their daughter Sarah Catherine Hook, and her brothers Patrick Schwarzenegger and Sam Nivola exploring a meditation center nearby; a threesome of longtime friends (Michelle Monaghan, Carrie Coon, and Leslie Bibb) on a getaway reunion; and an unsavory character (Walton Goggins) often irritating his younger, cheerful partner (Aimee Lou Wood, known from “Sex Education”). Predictably, beneath the surface of each group lies a deep-seated issue, ranging from looming scandals to lingering anger to past traumas.

This year’s hotel staff is more diverse, with a unique focus on wellness compared to previous seasons. The general manager, Fabian (Christian Friedel, similar to German but less intimidating than his character in “The Zone of Interest”), is somewhat secondary in the six episodes given to critics. His formal politeness is overshadowed by Sritala (Lek Patravadi), a former actress turned wellness guru, and Valentin (Arnas Fedaravičius), a Russian energy healer working with the Bibb-Monaghan-Coon crew. The most endearing – and potentially concerning given the show’s pattern of rewarding sincerity – is the romantic interaction between gate attendant Gaitok (Tayme Thapthimthong) and his colleague Mook (Lalisa Manoban, from K-pop group Blackpink). She encourages her friendly, unassuming coworker to strive for more.

Drifting among these two main groups is Belinda (Natasha Rothwell), who was left in a difficult financial situation by Tanya during Season 1. Currently, she’s participating in an exchange program to pick up new skills from her Thai counterparts. On a deeper level, Belinda plays a crucial role in maintaining the overarching storyline that prevents “The White Lotus” from feeling like a series of unrelated vacations – or, as some might see it, a true anthology series. Guests may visit the hotel seeking an escape, but just as Tanya’s fairy tale ending turned sour, the show consistently emphasizes that actions have repercussions and people’s tales don’t simply conclude when they exit the screen.

The various elements need time to align or for White to unveil all his characters on the stage, as there are still significant figures and unexpected appearances I’m not allowed to reveal yet. The initial episodes carry a sense of tension, frequently concluding in subdued resolutions rather than climaxes, and exhibit some inconsistency in performances. Posey, for instance, overacts compared to others, aiming for campy humor with a Southern accent and relaxed facial expressions – you’ll be amazed by her “lorazepam” delivery – but her performance seems misaligned with those she shares the screen with. Goggins, on the other hand, adopts a surprisingly melancholic character, which may come as a surprise given his usual association with jovial, mischievous roles like in “The Righteous Gemstones.” This somber, bitter portrayal is likely to stir controversy, but it also raises some of the season’s most profound questions.

As the audience anticipates the unfolding of the larger narrative, “The White Lotus” provides a tantalizing appetizer in the form of the three women: an aging actress (Monaghan), a Texas housewife (Bibb), and a recently divorced attorney (Coon). Their light-hearted chatter quickly devolves into petty squabbles and rehashing old grudges. If their tension mirrors that of previous “White Lotus” series, it is heightened by an intrigue in Thailand as a distinct location with a unique connection to Western tourism. One character even scoffs at the presence of what they call “LBHs,” or “losers back home,” among the local populace. “The White Lotus” maintains its perspective from the perspective of the transient tourist, considering it only stays in one place for a limited time. However, the more it strays from the beaten path, the more it can delve beneath the polished facade. An episode chronicling an increasingly chaotic night out is particularly noteworthy.

Both past seasons of “The White Lotus” concluded definitively, with deaths playing a significant role in revealing the show’s underlying themes. Whether it’s exposing the corrupt nature of wealth or illustrating love as yet another commodity in a world driven by transactions, the manner of death serves as a powerful tool for Mike White to convey his message. Assessing Season 3 without this retrospective understanding is challenging. However, each character is on a quest, seeking something intangible – such as purpose or serenity – that’s lacking in their daily lives. Fittingly, their narrative prioritizes a meandering odyssey over a predetermined conclusion.

The third season of “The White Lotus” is set to debut on both HBO and Max on February 16th at 9:00 PM Eastern Time. New episodes will follow every Sunday thereafter.

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2025-02-11 19:17