Have you ever wanted to feel transported to a five-star resort, reveling in the experience of a lavishly exclusive vacay, all from the comfort of your own home? Have you ever felt compelled to mock people navigating the alluring twists and perils of vacation, combined with murder and Jennifer Coolidge?
If you’re anything like me, then I have the perfect show for you. A dark comedy that has recently been nominated for multiple Emmy and Golden Globe awards, HBO’s “The White Lotus” by Mike White follows a discordant cast visiting different scenic locations of the titular imaginary resort chain, from Hawaii in season one to Sicily in season two. Thematically the show ranges from colonialism to infidelity in the crucible of opulent disagreement, sex and drugs. Much like being dropped into a real life game of Clue, each season offers audiences a jarring preview of the ending massacre, leaving the remaining episodes to unravel the build-up of events, fueled by suspense and interpersonal drama.
From families, couples, and friends bubbling over with explosive tensions to overwhelmed hotel managers juggling the mercurial desires of their guests, the show’s underlying superficial presumption is that everything will be resolved among the glitz and glamor of pools and pristine beaches. Dramas involving separate parties are not disparate, but rather are fused together similarly to the natural interactions of real people on vacation.
While the majority of cast members in each season vary between latitudes, don’t worry: Both boatloads of vacationers, combined with the pervasive cultural backdrop of their surroundings, offer a volcanic blend of intrigue and irreverence, igniting into cataclysmic disaster right before the return flight home.
Despite aiming to illuminate issues regarding privilege and classism, the series’ social commentary is so laugh-out-loud ridiculous that it only amplifies its own ironies. Though a serial murder plot may not be a novel concept, “The White Lotus” is infinitely appealing in part due to quietly exaggerated, dissonant yet relatable personal conflict that is purely gripping.
In addition to featuring deeply complex and penetrating characterization, ranging from the disillusioned blonde heiress Tanya McQuoid (Jennifer Coolidge) to the Italian escort and aspiring singer Mia (Beatrice Grannò), “The White Lotus” offers immersive cinematography through distinctive color palettes, including sunshiny golden hues overlaid with dark saturation, as well as fly-on-the-wall camera techniques to develop an intimate viewing experience.
Feeling directly placed in the atmosphere of the hotel, I was privy to all the raw, emotional moments (including those I didn’t care to see), as the narrative dazzlingly unfolded domino style in all its exotic mystery, with a voyeuristic lens. Like the guests, I felt as if I too were receiving reenergizing spa treatment and pouring out my psyche to my masseuse, attending the luau and gossiping about that particular family, or even winding through the narrow streets of Palermo to escape the Mafia.
Photo courtesy of HBO
