The third season of The White Lotus 3, set in Thailand, promised spirituality, revelations, and exotic, suspenseful luxury. But what we ended up with was a tired meditation on death, empty dialogue, and a cast that couldn't quite get going. By the time the actors finally warmed up a bit, we were already losing interest.
If it seemed that The White Lotus After an explosive first season and an emotionally daring second, The White Lotus 3 has found its place among the most ambitious series on modern television, and is that sobering moment after an all-inclusive dinner – when you realize you've overeaten and that dessert isn't worth the calories.
The White Lotus 3: The weakest season yet? Absolutely.
Mike White, author and director, this time rolled up his sleeves and took us to Thailand – a destination perfect for spiritual transformation and cultural confrontation. But what we got was a drawn-out and content-fragmented season, where themes of death, faith, guilt, and enlightenment floated on the surface, never truly explored.
That the season was difficult is no surprise—White often plays with discomfort. But the problem isn’t the darkness, it’s that the stories never really connect into a meaningful whole. Each character was trapped in their own bubble, and not in a way that deepened understanding, but in a way that distanced us from anything truly important.
The cast? Cold as a buffet salad.
There's no denying that previous seasons The White Lotus fired some actors (Jennifer Coolidge, Aubrey Plaza, Theo James) because the characters fit the actors like a thin gin and a good tonic. This time – a complete absence of chemistry. Patrick Schwarzenegger, Carrie Coon, Aimee Lou Wood, Scott Glenn … each individually capable, but together like an improvised theater group still searching for a common tone.
Although there was a moment of authenticity towards the end (especially Laurie's monologue, masterfully delivered by Carrie Coon), we got there too late. By then we were already numb. By the time the actors finally became a little more convincing, we the audience had already gotten used to their wooden acting – not because they were getting better, but because we were getting more tired.
Visual luxury without content
What couldn't be overlooked was that all the episodes were visually breathtaking. Thailand, with its mysticism, greenery, temples and turquoise sea, was screaming for symbolism. But it all quickly turned into a postcard – beautiful, but empty. Even the spiritual elements (monks, meditation, the symbolism of the tree of death) became just a backdrop for rich Westerners playing with the idea of enlightenment – as if you could buy a spiritual rebirth at the resort reception.
Toothless Satire
The White Lotus has always been a show that entertained us with its cynical take on the rich and the corrupt. But this time, it’s as if the show no longer dared to bite. The satire has become diluted, almost bland. Characters like Tim Ratliff and his eccentric family were designed for humor and shock—but left with no real weight. Even the deaths were somehow weightless. Chelsea, one of the few likable characters, dies with a donut in her hand. Symbolism? Maybe. But effect? Not exactly.
What about the doctrine?
Mike White tells us that enlightenment is an illusion, that the search for meaning in a world of wealth is fruitless. Okay. But didn't we already know that? And more importantly - do we really need eight episodes to find out, with characters we can barely stand?
The only real stars of the season? The monkeys.
The most lifelike characters, the ones that conveyed emotion, were relatable, and visually entertaining – they were the monkeys. If anyone returns in season four, let it be the monkeys. And maybe Fabian, who owes us a song.
