White Lotus

August 23, 2021
Posted by Jay Livingston

Some random observations on White Lotus. I know it’s just television, and the stories are about the individual characters. But it’s hard not to see the social categories — class, gender, age, race, family role, occupation, etc.

Spoilers abound in what follows. For those totally unfamiliar with the show, White Lotus is a luxury hotel in Hawaii. The show focuses on three sets of guests who have come from the mainland for a week and on some of the staff who must endure them.

1.      Rich people are the problem, even when they’re trying to help.

Rich people are often the bad guys in American movies and TV.* In their pursuit of wealth and power, they resort to all kinds of nefarious deeds, some legal, some not but nasty nevertheless.  In White Lotus, the rich people are not that kind of villain. They are not Gordon Gecko or Montgomery Burns.  They are merely thoughtless. But the results are just as bad. In that thoughtlessness, they unintentionally bring disappointment, disaster, and death to the people who have jobs serving them.

    Three plot lines in the show pair a guest and a member of the hotel staff:

  • Tonya, a wealthy but very unhappy White woman. Belinda, the Black manager of the hotel’s spa services
  • Paula, friend of Olivia Mossbacher, whose family is on vacation at the hotel. Kai, a native Hawaiian who works at the hotel.
  • Shane, young White man on his honeymoon; his money is from the family real estate business. Armond, manager of the hotel, gay.

    None of these ends well, especially for the staff member.

    a.    After Belinda brings Tonya out of her physical and psycological misery, Tonya offers to help Beinda start her own business. But  then Tonay backs out, not even reading Belinda’s proposal. (She does though leave Belinda with a substantial amount of cash.)

    b.    Paula seduces Kai, then tries to help him by convincing him to steal the jewelry of the family that has brought her along. She provides the combination to the Mossbache’s room. It’s a stupid idea, and Kai is easily caught.

    c.    Shane is out to get Armond practically from the start. His complaint is mostly about the room Armond has given him. But in the end, he winds up killing Armond, though the death is more accidental than intentional.

2.    This ain’t Mother’s Day.

    a.    White Lotus is not kind to mothers. Tonya (Jennifer Coolidge, who should be given an Emmy right now) makes it clear that her mother is the principle cause of her personal failings and misery. ( “My mother told me I would never be a ballerina, and that was when I was skinny,”) We’ll never know the mother’s side since she exists only as the ashes that Tonya carries around in a wooden box and periodically tries to scatter on the ocean,

    b.    Nicole (Connie Britton) is more interested in her role as CFO than in her family. Even on this family vacation, she’s rearranging the furniture in their hotel suite for purposes of feng shui for her Zoom with China.

    c.    Shane’s mom (Mollie Shannon) is so involved with running Shane’s life that she crashes his honeymoon, is disdainful of her new daughter-in-law (if she listens to her at all) and is in general a thoroughly dislikeable materialistic snob.

3.    So much for the new masculinity.

    Shane performs the old-style bro version of masculinity., and for that, the show portrays this as something no man should want to be. But the non-bros, the two Mossbacher men (father Mark and teenage son Quinn) are hardly ideal. They are nearly lifeless, without energy for anything and finding little gratification in what they do. Mark seems to has little authority in the family, and seemingly no job. His wife Nicole, is the high-power one.  In the opening episode, Mark is worried that he will literally lose his balls. Quinn, bored and listless, distracts himself with screens — video games and porn.
What brings each of them to life is the chance to do something physical and tradionally masculine — fighting and sports. When Mark comes upon Kai burglarizing his room, he tackles him. They fight briefly, Mark getting the worst of it. But his valiant effort transforms him in his own eyes and in the eyes of his wife. They have sex for what is apparently the first time in years. Quinn comes to life only after he joins up with a rowing team. Pulling an oar in the outrigger is the only real thing in his life.


* The creators of these shows are often rich. I don’t know how much Mike White is making from this show that he created, wrote, and directed — it’s impossible to find out unless someone sues someone else — but I’m sure it’s a lot. Why do rich Hollywood writers make rich business people their villains? For Ben Stein’s Marxist answer to this question, see the post Schmucks With Powerbooks from 2007

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