Review: Mike White’s ‘The White Lotus’ (Season 3)
- Amy Alexander
- May 1
- 5 min read
WARNING: MAJOR SPOILERS AHEAD, SEXUAL THEMES MENTIONED
Mike White’s The White Lotus has, for many years, depicted the monstrosity of affluence among wealthy Americans. From Hawaii to Sicily, we were rocked by the twists and turns of events throughout their stay at the iconic hotel. Season 3, now set in Thailand, was perhaps the most hotly anticipated TV series this year, and it certainly did not disappoint! We were introduced, yet again, to another ensemble of wealthy Americans eager to put their minds at rest from their everyday materialist lives. A holiday in Thailand was quite the choice!
Notably amongst the ensemble was Belinda (Natasha Rothwell), Season 1 masseuse and “friend” of multi-millionaire Tanya McQuoid. At the end of Season 2, Tanya attempted to jump off a yacht and, instead, drowned just off the coast of Sicily. Also present (to much surprise) was Greg–now Gary (Jon Gries), former husband of Tanya, very much wealthy, living in a house atop a hill overlooking the White Lotus hotel. Gary was somewhat of an aloof character this season, slightly avoiding any conversations with other hotel guests. After keeping tabs on Belinda, he eventually confronted her about her suspicions of him. In Episode 8 after much deliberation, Gary wire transferred her $5M to buy her silence and to build the spa of her dreams. After all, it’s what Tanya would have wanted, right?
The most striking theme of this season was suffering - a meditation on the weight of pain, trauma, and dysfunction. We saw that in the friendships between Laurie (Carrie Coon), Jaclyn (Michelle Monaghan), and Kate (Leslie Bibb). The growing division between the trio, their illustrious attempts to undermine one another, and the shattering of facades told the story of old friendships ebbing and flowing to and from one another. The gossipping; Jaclyn’s affair with hotel worker Valentin (who she had tried to set Laurie up with); Backhanded compliments; Fighting to make their lives seem so “put together” and “perfect”. It was a masterclass portrayal of complex relationships, especially between American women.
Their love and honesty in Episode 8 was heartfelt, sincere, and a reminder that time can deepen and strengthen the bonds of friendship.
We saw a real depiction of trauma amongst the Ratliff family, spearheaded by husband Timothy (Jason Isaacs), with wife Victoria (Parker Posey), their daughter Piper (Sarah Catherine Cook), and sons Saxon (Patrick Schwarzenegger) and Lochlan (Sam Nivola). Timothy’s financial crimes became the forefront of the Ratliff’s story, and with no technology around him, he became consumed by the fear of imprisonment and bankruptcy back home. Also worth mentioning is the inclusion of religion this season, with Piper’s intentions of living in the Buddhist monastery critiqued heavily by her mother. As the season progressed, it was evident that the entire Ratliff family (bar Lochlan), would rather not live, than have to survive below their means. They couldn’t fathom a reality in which they would ever live a “normal” life.
Timothy’s ongoing emotional breakdown (and Lorazepam addiction) turned into mass murder-suicide ideation by the final episode, with fans online expressing their outrage and shock as he blended the seeds from a Thai “suicide tree” to make pina-coladas for his whole family (except Lochlan). Thankfully, he changed his mind at the last minute (he literally threw the glass out of Saxon’s hand mid-drink). Fate was already sealed in Timothy’s decision, though. His son, Lochlan, used the blender in the morning to make a protein smoothie. His temporary death, and surprising return to life, in the arms of his sobbing father, echoed the concept of samsara (the Buddhist depiction of death and rebirth). Perhaps this was Timothy’s redemption? His chance to truly understand that family must come first, always.
The unravelling of trauma within the Ratliff family intensified with a shockingly intimate scene between brothers Saxon and Lochlan part way through the season. Of course, this act dramatically complicated the relationship between the two, especially given that Saxon’s arc until then was to bashfully encourage Lochlan to be an alpha male, to be more domineering.
Ironically, despite both brothers being encouraged to take drugs from Greg/Gary’s new girlfriend Chloe (Charlotte De Bon), it was Lochlan who initiated their kiss, and it was Lochlan who presumably initiated touching his brother. The power dynamic flipped; Saxon was now a victim of his own brother’s actions. It was difficult to watch Saxon become more introverted and isolated as he came to terms with the traumatic incident.
The unravelling of identity was evident in the scenes with the Ratliff brothers. At the beginning of the show, Saxon was the alpha male brother–lustful about women and sex.
Lochlan, on the other hand, lacked any kind of identity. He had yet to choose where he wanted to go to college, and even admitted during Episode 8 that he wanted to stay at the monastery with his sister Piper. Lochlan really was the epitome of a “younger brother”. Unsure and uncertain of himself, easily swayed, and emotionally neglected. It’s no surprise that in a family of trauma, depression, and toxic masculinity, there would also be a violation of known boundaries. But by the end of the show, both brothers seemed to have found solace within themselves. Lochlan’s near-death experience may have changed his outlook on life, and Saxon’s openness towards relationships, feelings, and spirituality (all thanks to Chelsea) may have saved him from becoming engulfed by his own trauma.
The end of Season 3 culminated with the deaths of couple Chelsea (Aimee Lou Wood) and Rick (Walter Goggins). Both characters were shot. Our first impressions of Chelsea indicated that she was a deeply loving, spiritual woman, who saw the best in every situation. It was her hubris - her downfall. Her complex relationship with Rick, an avoidant, set the ominous tone from the outset. For much of the season, Rick grappled with the knowledge that the man who allegedly murdered his father happened to be the husband of the owner of the White Lotus hotel. Flying to Bangkok (under false pretences) to confront the man, Rick surprisingly kept his anger at bay. That is, until Episode 8, where he fatally shot him, only to discover afterwards that he was indeed his father. Rick had spent so long trying to avenge his father’s death, only to be the one who pulled the trigger. It was a predictable plot line from Mike White but that didn’t take away from the essence of the scene. The long suffering Rick had felt for much of his life was unnecessary, but it was too late.
Throughout the season, Chelsea was the epitome of blind optimism in a relationship. Her desire for love was one-sided, and Rick’s emotional stresses became her own.
Throughout the season her worry and sadness and fear for Rick made her lose sight of what was important in a relationship: mutual love and mutual understanding. Her misguided sense of fate, destiny, and compatibility with Rick led to her death. She clung onto his every word and to every sign or synchronicity telling her they were meant for each-other. Searching for connection, she seemingly found it in someone who needed “fixing”.
Chelsea, out of all the characters on the show, was the closest to embodying anicca (the Buddhist principle of equanimity). With a strong sense of self and a good moral compass, she held up a mirror to all the wrong that existed within the people around her. In Saxon. In Rick. In Chloe. Arguably, she was the first of Mike White’s characters to be truly “good”.
But good in the world of The White Lotus only exacerbated the likelihood of something fatal happening (see: Tanya McQuoid).
Season 3 of The White Lotus was a truly enjoyable watch, and was, without a doubt, the most complex and emotionally volatile season. Its sharp commentary, critiques of the American elites, as well as the inclusion of Buddhist themes throughout, gave the audience more than what they were looking for.
Season 4 of The White Lotus has been green-lit and is expected to air in 2027.
Edited by Cormac Nugent
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