The White Lotus: Exploring Provocative Themes and Controversial Content
DANIEL FIENBERG: The last month has certainly established that Mike White possesses an exceptional talent for creating television that not only entertains but also fosters meaningful discussions. However, it’s intriguing to observe the diverse topics that ignite conversations about The White Lotus.
As usual, speculation surrounds the season’s anticipated tragedy and the events leading to a character’s demise. Yet, this aspect has never captivated me as much. (Though, I must admit, I would be intrigued if a monkey turned out to be involved.)
Additionally, conversations have surfaced around the nuances of North Carolina accents, with audiences learning about the distinct suburban Durham accent as compared to its urban counterpart. Furthermore, Aimee Lou Wood’s unique dental features have sparked opinions, suggesting that The White Lotus‘ viewers may not solely comprise fans of Sex Education or Oscar enthusiasts who appreciated her role in Living, alongside Bill Nighy.
Yet, the most significant point of discussion over the past two weeks has revolved around the unexpected relationship dynamics between brothers Saxon (Patrick Schwarzenegger) and Lochlan (Sam Nivola). Initially presented as a simple kiss, their interaction evolved into more intimate actions, leading to a heated debate on social media regarding the implications of incest—a taboo topic that has been addressed in a rather lighthearted manner.
The Saxon-Lochlan Controversy
So, Angie, when you previewed the early episodes, did the unfolding drama between Saxon and Lochlan take you by surprise? How have you perceived the audience’s reaction?
ANGIE HAN: Interestingly, I was somewhat prepared for the Saxon-Lochlan developments, having heard a lot of buzz about it beforehand. Therefore, by the time I reached that part, I was almost surprised that they didn’t push the boundaries even further. The unsettling vibes from the Ratliff siblings were palpable long before Lochlan witnessed Saxon’s private moment in the premiere.
This narrative isn’t entirely out of the ordinary for The White Lotus. The second season presented a shocking scenario involving an uncle and his nephew, which ultimately turned out to be a misleading plot twist. Nevertheless, it aligns with Mike White’s penchant for heightening shock factors by incorporating taboo subjects like incest.
Incest serves as a discussion catalyst, notably evidenced in last fall’s Monsters: The Lyle and Erik Menendez Story. Despite the show’s focus on graphic violence, the unsettling relationship between the brothers dominated viewer discourse. As you pointed out, incest remains a potent taboo in a television landscape increasingly devoid of such constraints, making it an effective tool for drawing viewer attention.
On the topic of The White Lotus, I ponder how many viewers are genuinely engaging with the broader themes of identity and desire versus those merely reacting viscerally to the brotherly entanglement.
Confronting Moral Boundaries
FIENBERG: I want to avoid discussions about Menendez: Monsters for precisely the reasons you’ve highlighted: Ryan Murphy attempted to juxtapose the horrid nature of incest with a sensational portrayal that undercuts its severity. Certain topics should not be trivialized for entertainment.
Mike White’s work conveys a duality; he depicts idyllic vacations while simultaneously portraying resorts as spaces where societal norms erode. The moral foundations that govern the characters’ behavior collapse in these settings. Freud highlighted the repression of incest as crucial to civilization, and White’s narratives test the boundaries when civilization’s veneer is removed.
This thematic exploration has unfolded progressively across seasons. The first season introduced Sydney Sweeney’s character who imposed intimate boundaries within her family, while the subsequent season touched on the false premise of a familial sexual encounter. There were even cases of father-son involvement with the same sex worker.
This current season sets the stage with the Ratliff siblings’ unsettling discussions around boundaries and a disturbing voyeuristic theme that culminates in Saxon’s and Lochlan’s encounter. However, are we certain that incest actually transpired? Given the party atmosphere, could it be a potential misdirection? Could Mike White be labeled as the provocateur of television who repeatedly treads the line of decency?
Analyzing the Relationship Dynamics
HAN: I believe the incestuous encounter did occur. Both Saxon and Lochlan independently recall it, and Chloe’s mention of the incident supports that notion. While it’s possible for the narrative to mislead us, I’m more focused on what this moment signifies.
The relationship between the Ratliff brothers suggests a complex interplay of desire and familial identity. Saxon seems determined to shape Lochlan into a reflection of himself, while Lochlan idolizes his older brother. Their fateful encounter—enhanced by substances and a distorted sense of reality due to their vacation setting—might be less about suppressed attraction and more about the transference of identity highlighted in Rockwell’s monologue.
While this intellectualization may not ease the brothers’ confrontation with their choices, it prompts a deeper exploration of the philosophical versus the tangible. Imagining transcendence is one thing; reconciling the outcomes is quite another.
On the topic of class, the Ratliffs and the Menendezes emerge as affluent figures, much like the Targaryens from House of the Dragon. Such narratives often associate scandalous relationships with elite privilege, prompting reflections on whether these stories of incest reflect on the moral decay of the upper class. Given the surge of incestuous themes in contemporary media, is there a broader commentary at play here?
The Facade of Privilege
FIENBERG: Indeed, of all the privileges depicted, incest privilege stands out as particularly troubling. Incest narratives involving lower-income families are often portrayed solely as horror stories. Conversely, in historical dramas and fantasy contexts, incest is normalized among royalty and the powerful, depicted more so as a strategic union rather than a moral failing.
In shows like Game of Thrones, incest becomes a quaint norm among families vying for power, while The White Lotus presents a contemporary take on the same themes, amplifying the allure of such taboo subjects within the luxury resort context. Each season elevates the exclusivity of its setting, pushing towards implications of wealth insulating characters from reality. When one is deprived of an outward gaze, introspection becomes inevitable.
This brings us to the question: why is incest proliferating on television? It parallels broader societal trends, reflecting the amusing debate over America’s class dynamics—a pivot toward either oligarchy or monarchy. With power and wealth increasingly concentrated, loudly questioning the moral fabric of these narratives seems warranted.
However, I remain skeptical about whether what transpired between Saxon and Lochlan truly constituted incest. Although Mike White enjoys shocking audiences, I suspect there are limits even HBO won’t cross. The events were influenced by substance use, and recollections may vary. Perhaps there’s consensus on a kiss, yet the veracity of deeper encounters remains ambiguous, especially given Chelsea’s choice to remain detached from the events.
Provocation or Purpose?
HAN: Clearly, the narrative invites viewers to grapple with the notion of incest, deftly straddling the line of provocation. But is this merely sensationalism, or could it serve a greater narrative purpose?
I believe that Mike White has garnered enough trust from viewers, based on his previous successes, to imply that he aims for something nuanced rather than purely scandalous. However, the actual intentions behind this controversial plot twist remain a mystery until the season’s conclusion.
Thus far, the buzz surrounding the Saxon-Lochlan connection has been significant, surpassing the fleeting intrigue seen in prior seasons. If the intention was to captivate the audience, it undeniably succeeded. Yet this raises a pertinent question: where can the show escalate from here? Can it continually raise the stakes of outrageous content?
FIENBERG: Monkeys. With. Guns, Angie. Gunkeys!
HAN: True enough! While incest is rampant on TV, innovative twists like gunkeys would undoubtedly break new ground in storytelling!