TV Review: The White Lotus, Season 3 serves up intrigue in Thailand, With More Blood Than Ever
Mike White’s biting satirical dramedy The White Lotus returns for its third season, this time relocating its luxe dysfunction to a lavish Thai resort. Following the tropical escapades of the wealthy and morally disheveled in Hawaii and Italy, Season 3 deepens the show’s exploration of privilege, secrets, and human fragility—this time with a much bloodier outcome.
The ensemble cast is as glittering and off-kilter as ever: Leslie Bibb, Carrie Coon, Walton Goggins, Jason Isaacs, Michelle Monaghan, Sam Rockwell, Parker Posey, Scott Glenn, and Patrick Schwarzenegger round out the main roster. Fan favorite s Natasha Rothwell and Jon Gries return from Season 1, bridging a sense of continuity amid the otherwise all-new chaos. Notably absent is Jennifer Coolidge, whose fan-favorite character Tanya was dramatically (and fatally) written off at the end of Season 2—an absence that is deeply felt, though the series manages to stand on its own without her signature eccentricity.
As is now tradition, the season opens with a chilling teaser of death: gunshots ring out in paradise, but no bodies are immediately revealed. The narrative then rewinds, and over the next seven episodes, we unravel the events leading up to the season’s climactic bloodbath. What unfolds is a slow-burning but highly stylized descent into secrets, seduction, miscommunication, and ultimately, violence.
Tandy described this as the most violent season yet—and it’s hard to argue. From the eerie early disappearance of a firearm (a Chekhov’s gun if there ever was one) to a mistaken identity that leads to a tragic, bullet-riddled finale, the tension is unrelenting. The violence is not just physical but emotional, with one particular twist involving incest pushing the envelope of discomfort in a way the series has not quite dared before.
Lisa felt the pacing was a bit sluggish, and some viewers might agree—the show’s strength has never been in propulsive plot but in its slow-brewing character dynamics and unsettling mood. That said, the finale delivers a payoff that is both shocking and narratively earned.
With a fourth season already greenlit, speculation swirls about where the next story might take place. Tandy suggests Greece—Mykonos, perhaps—which seems fitting for a show that relishes the collision of ancient grandeur and modern absurdity. Lisa agrees, noting the Mediterranean might offer the perfect blend of beauty and decadence.
Season 3 of The White Lotus is not for the faint of heart, but it remains a sharply observed, darkly funny, and often chilling mirror held up to privilege and pretension. Mike White continues to prove that paradise, no matter how scenic, is never free from sin.
Severance was created by Dan Erickson and primarily directed by Ben Stiller. It’s is one of those shows you watch and think, “Wait—Ben Stiller did this?” Yes, that Ben Stiller. Known mostly for comedy, he steps into surprisingly dark, cerebral territory as the executive producer and primary director of this American science fiction psychological thriller. And yes, that label—science fiction psychological thriller—fits Severance to a T.
Created by Dan Erickson, the series centers on employees at a mysterious biotech corporation called Lumen Industries. These employees have undergone a surgical procedure known as “severance,” which separates their work memories from their personal ones. It creates two completely distinct selves: the “innie,” who exists only inside the walls of Lumen, and the “outie,” who lives their outside life with no knowledge of what goes on at work. It’s a chilling concept, brilliantly executed—and not without emotional weight. Many of the characters opt for the severance procedure as a form of escape from personal trauma. For example, Adam Scott’s character is grieving the death of his wife and seeks refuge in a job that won’t allow his grief to follow him.
Adam Scott delivers a strong and deeply empathetic performance, and he’s joined by an exceptional cast: Britt Lower, Zach Cherry, and Tramell Tillman—who deserves all the attention he’s getting for his eerie, tightly wound turn as Mr. Milchick. John Turturro, Christopher Walken, and Patricia Arquette round out the ensemble with standout performances of their own, giving the world of Lumen a surreal and often unnerving texture.
What starts as an office drama with a sinister twist becomes something much stranger, and more disorienting, the deeper you go. Lumen Industries is no ordinary workplace. Underneath the beige cubicles and corporate slogans lies a surreal, sometimes cult-like world that plays like The Office by way of Kafka and Orwell. It’s dystopia dressed in fluorescent lighting.
The concept sprang from creator Dan Erickson’s own frustration with life in a cubicle. While holding down a day job, he earned a master’s in television writing at night—and wrote the pilot that would become Severance. It eventually landed with Ben Stiller’s production company, and the rest is binge-watching history.
Now, full disclosure: Severance was not exactly our cup of tea. I (Tandy) and my watching companion Lisa both found the show’s pacing and tone a little too bleak and methodical for our tastes. That said, the show has been a critical and audience darling, earning glowing reviews, a dedicated fan base, and a second season. It clearly resonated with viewers who are drawn to its originality, its existential edge, and its commentary on work, identity, and corporate control.
Even if it didn’t land with us, we have to admit: Severance is a bold, stylish, and unsettling piece of television. It asks provocative questions—and doesn’t let you look away from the answers.
