Human depravity makes for first rate drama as ‘Lotus’ launches season three

Diverging from the typical dramatic aspects of the genre, White Lotus’ satirical, brazen, and risky storytelling has always provoked emotions unseen before on TV. With storylines ranging from debonair and elusive managers to  women of the night stirring familial trouble, and criminals lacking contrition, the three seasons of the HBO series have never failed to disappoint. The grotesque imagery of such ribald narratives connect the shows thematically, despite the fact they are mainly not an interconnected world as each season offers a different locale. However, the latest season offers a vestige of Season 1, returning to the antics that accelerated it to popularity. 

Emmy winner Mike White (School of Rock) crafts this White Lotus universe of debauchery, and his writing has completely shifted the expectations of a drama series. His compelling narrative work harbors an array of rich allusions, perhaps even distracting the attention of audiences too much at some points. White’s affinity for drawing inspiration from the Seven Deadly Sins throughout the three seasons make the show analogous, on many fronts, to some of the best TV ever made. His direction for the show has led to 48 awards and numerous nominations amongst cast members. However, the storytelling and allusions put a heavy demand on viewers to keep up.

The cast, always a strength in seasons one and two, remains strong in the latest installment with the introduction of Walton Goggins (Fallout) and Patrick Schwarzenegger (Gen V) reeking havoc in Thailand. This duo is not anywhere near innocent to violent and morally corrupt individuals, and their transferring talents have been duly noted thus far. Goggins provides the role of lust and greed, a “business” mogul with his drastically younger girlfriend who’d die for him. Schwarzenegger, on the other hand, reproaches the allegations of nepotism being the sole reason for his success, as he does not shy away from “baring it all” and his unique droll mechanisms contrast with his jumbled family. Although the show is still in its early stages, this season may fall short from the high stakes of the past. 

Schwarzenegger’s father Timothy Ratliff (Jason Isaacs, The Patriot) portrays a businessman entrapped in a fraudulent scam back home, living his last moments of freedom before incarceration at Thailand’s White Lotus Hotel. The ironic autonomy of the vacation resembles the risky themes of past seasons, with the FBI hunting him down with vehement effort. Goggin’s conniving Rick Hatchett is spiraling, to say the least, with perhaps the most nebulous intentions in his travel, aside from meeting the owner of this White Lotus. “Gary” (Jon Gries, Napoleon Dynamite) no longer is passing himself as Greg, or Tanya McQuoid’s (Jennifer Coolidge, Legally Blonde) husband, and is living a new facade, showing no grief for her untimely death. This season opens a variety of new doorways, exactly like past seasons, but seems distorted without a clear cut antagonist or direction thus far.

White keeps it fresh, avoiding past tropes embodied by Alexandra Daddario (Baywatch), and Michael Imperioli (The Sopranos). Although their stories have concluded, their impact for the future of the show still resonate, as their honeymoon fails and lustful excursions, respectively, would be dull if repeated. These dysfunctionally wealthy characters struggle to remain sane, and their escapades to escape around the world prove fruitless, as their consequences follow them in some way. As for the current array of characters, White seems to be heading down the path of expanding pride and greed’s impact on the unpunished.

What makes this series particularly different from other dramas is not allowing audiences to care for the characters. Nobody in the show has redeemable qualities, which can complicate the review process overall, ultimately resulting in the varying reviews around 7.0’s. With the rapid uptake of Season 3 arising from the general public, HBO Max has ordered up a fourth season of White Lotus, already difficult to picture with the violent in medias res showcase in the first episode. This jarring introduction provides a concluding sense, but White will surely find a way to continue his tropical universe, as long as the money keeps rolling in.

Grade: B+

The brilliantly executed satirical anthology builds a powerful, thematically connected story, but appears to be draining through tropes quickly.

by Luis Fonseca

Published March 17th, 2025

Oshkosh West Index Volume 121 Issue VI