Critic Reviews
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It’s unsurprising the show feels like it’s in the midst of a transitional season as it figures out how to balance so many disparate thoughts, ideas, and characters — a sensation exacerbated by the fact so much is riding on the outcome of the remaining episodes.
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It’s comfort food masquerading as social critique. Even as White meanders in familiar territory, this Thailand chapter never exactly becomes an unfunny or poorly acted stretch of television. While I haven’t seen the final two episodes, the latter half of the season does start to maneuver the characters toward some audacious, inspired mayhem. But it’s tough to come away from these episodes without feeling that White really ought to hire some additional writers.
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Far from being a disaster or history-making disappointment, Mike White's show is more accurately described as a victim of its own success: delivering a season that falls below his inordinately high bar, but is probably above average by any other metric.
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The White Lotus season 3 has all of the elements we’ve come to know and love from Mike White’s satirical anthology – a great cast, an exotic locale, and messy interpersonal drama – but there’s some serious spice missing from the recipe. .... There’s a disappointing amount of wheel-spinning for the guests and the staff alike, which makes me wonder if the series is creatively tapped out – or maybe its ugly-American motif has just lost its bite.
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Although Belinda is ostensibly there to learn, she comes in as much a blank slate as the paying guests, with little more to offer her Thai co-workers than a stiff khàawp khun. White isn’t much more generous, or more interested. The White Lotus began as an Upstairs Downstairs parable of economic exploitation, with a little postcolonial critique, as a treat. But the third season’s native characters are barely an afterthought.
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