Each season, Max’s acclaimed series The White Lotus tackles the task of recounting a well-known narrative—centered on affluence, longing, and ethical decline—through a fresh ensemble of wealthy individuals vacationing in yet another opulent location. Season 3 whisked viewers away to an imaginary White Lotus resort in Thailand, upholding the show’s legacy of satirical social critiques intertwined with intrigue and scandal.
Nonetheless, this recent chapter stumbled under the pressure of its own conventionality. The storyline dragged, the characters seemed recycled, and the narrative surprises felt predictable. A particularly tone-deaf monologue even ignited backlash due to its offensive nature. While loyal viewers might have grown accustomed to the show’s shortcomings, this season’s blunders surpassed mere creative exhaustion.
What truly derailed Season 3 was its sensationalized approach to two profoundly sensitive issues: suicide and incestuous sexual assault. These narrative threads ventured into concerning territory, utilizing real-life trauma as a mechanism for shock rather than for impactful storytelling.
The White Lotus has consistently embraced the outrageous. Season 1 concluded with a hotel manager being stabbed after a bizarre altercation involving excrement and a pineapple knife. Season 2 saw the beloved Tanya McQuoid (Jennifer Coolidge) meet her demise in a convoluted murder scheme. However, while outlandish deaths can be perceived as dark humor, the portrayal of suicide and sexual assault—issues that affect many viewers on a personal level—calls for a more responsible treatment.
A Descent into Despair
This season, businessman Timothy Ratliff (Jason Isaacs) arrives in Thailand with his family, only to discover he’s under federal scrutiny for financial misconduct. As his world collapses, Tim descends into graphic and prolonged suicidal thoughts. Although examining the connection between financial strain and suicide is a commendable narrative intent, the show employs Tim’s mental health crisis more as a suspense element than as a serious inquiry into his suffering.
Each episode teases the possibility of Tim harming himself or others, repeatedly depicting his fantasies of death and family destruction. Research indicates that such detailed representations can elevate suicide risks for vulnerable audiences. Yet the series provides no content advisories or crisis resources, missing a chance to lessen potential harm.
Ultimately, Tim refrains from acting on his thoughts, though his choice inadvertently results in the poisoning of his youngest son. The season concludes with a hint of optimism, but this resolution arrives too late—and feels more like a narrative convenience than a genuine character development.
The show’s depiction of suicide resonates with past controversies, such as Netflix’s 13 Reasons Why, which faced criticism for its graphic portrayal of a teenager’s demise. Since then, many programs have refined their representations of mental health issues. Series like The Bear and Ted Lasso have shown that it’s feasible to address suicide with depth and care. In contrast, The White Lotus appeared more focused on shock than on substance.
A Disturbing Misstep
While Tim grapples with his despair, his sons, Lochlan (Sam Nivola) and Saxon (Patrick Schwarzenegger), become embroiled in a disturbing subplot. During a drug-fueled night on a yacht, Lochlan sexually assaults his inebriated and unconscious brother while engaging with a woman named Chloe (Charlotte Le Bon).
The show never explicitly categorizes this act as sexual assault. Instead, the following day, Chloe casually labels the encounter a “threesome,” leaving Saxon—who has no recollection of the event—confused and unsettled. The incident is downplayed and never fully recognized for what it truly is: non-consensual incestuous sexual assault.
Dr. Tanya Rawal of the Rape, Abuse & Incest National Network (RAINN) highlighted the necessity of accurately naming the scene. “It’s vital to label this scene for what it is: sexual assault,” she shared with Mashable. The show’s reluctance to do so perpetuates harmful myths—particularly the notion that men cannot be victims, or that male sexual assault is less serious or even appealing.
Some media narratives echoed this troubling framing, describing the incident as “brother-on-brother action” or a “wild incestuous hookup.” Such terminology trivializes trauma and sustains the stigma that hinders male survivors from receiving recognition and support.
White, the show’s creator, has expressed a desire to delve into sexual deviance, particularly among gay men. However, there’s a distinct difference between challenging societal conventions and exploiting taboo for shock value. Had the roles been reversed—if Saxon had assaulted his sister—the reaction would likely have been markedly different.
Satire Without Substance
The White Lotus has always positioned itself as a critique of wealth and privilege. However, careless satire can reinforce the very harms it aims to critique. This season’s dependence on taboo subjects—without providing meaningful commentary or repercussions—felt shallow. The series seemed more focused on eliciting discomfort than on conveying anything profound.
As Dr. Rawal stated, “Satire without