TV Discussion: HBO - The White Lotus

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Interesting as we are discussing everything we like about the shortened seasons on streaming?

The Writers HATE IT and a strike next year is very very very close to happening.

I had no idea how much residuals were effected by all this.




Yeah - it's such a weird landscape / market for TV in general these days.

Mainstream networks that have shown they'll cancel a new series within a matter of episodes.

Too many streamers competing for space. They flooded the environment. Everyone vying for your $'s.

COVID fucking over the world in recent years.

Giants like Netflix drawing people to the platform (especially some years back) off the strength of having the back catalogues for Friends & The Office available.

All of the cord cutting that has gone on.

The shortened window for theatrical releases for movies, or the ones that went directly to VOD (see: 2020 / 2021).

Etc, etc, etc.
 
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Jennifer Coolidge Tried to Get Mike White to Change The White Lotus’s Ending
“Mike likes to stick to reality.”
By Kathryn VanArendonk, a Vulture critic who covers TV and comedy
Photo: HBO Max
Before it aired last night, few people knew what would happen in The White Lotus’s season finale. At the top of that shortlist sat actress Jennifer Coolidge, who played dotty heiress Tanya McQuoid through a journey of self-discovery in last year’s Maui-set installment, then found herself at the center of a Hitchcockian murder plot on a yacht off the coast of Sicily in the climax of season two.
Following mountains of speculation regarding the identity of the victims at this season’s luxury Italian resort, the seven-episode getaway worked its way up to an astonishing, operatic conclusion: Tanya discovers that the troupe of high-class gays she’s been cavorting with after her husband’s departure are actually planning to murder her on his behalf. When she realizes her only way off the yacht is to fight back, she conquers her enemies in a blaze of tears and gunfire only to go toppling off the side of the boat in a tragic, darkly hilarious accident.
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Months before the season started filming, Lotus creator, writer and director Mike White called Coolidge to prepare her for Tanya’s fate. Her response? “Aw, damn it!”

How long did you know Tanya would die?
I knew very early on. Even before he was planning for Italy, Mike told me he wanted me in White Lotus two. And then I don’t know how many months after, he called me up one day and said, “Well, I guess I have to tell you this now so you can prepare.” And I said, “What?” And he goes, “You die, Jennifer. You’re gonna die in White Lotus two.” And I said, “Oh, no!” You’ve gotta be kidding me! Really?” I tried to talk him out of it, but Mike is very strong. He said I was going to have a tragic ending, and he stuck to his guns.
Did he tell you how it would happen at that time?
He didn’t tell me how it was going to happen. He did say Greg was going to be behind a plot that was not good for Tanya and that Tanya was going to go out with a bang. He said, “We’re definitely killing you, Jennifer.” And I said, “Aw, damn it! Okay.”
As unattractive as she is at times — she’s such a handful and unlikable — she really isn’t awful. Not like guys who are willing to take someone’s life as if it’s nothing.
What did you think when you read the script?
I was surprised! I’ve had a gun before in one other movie, but somehow this was the first time I felt very out of control. I really liked that. When we were shooting it, I felt like I could even have shot myself. Mike is a really good director — he sets up such a good environment where it feels like anything could happen.
Right before we did the scene, Mike was like, “Just remember, Jennifer, Tanya is so much more human than these guys. Just remember that killing something is hard for her.” It’s true. As unattractive as she is at times — she’s such a handful and unlikable — she really isn’t awful. Not like guys who are willing to take someone’s life as if it’s nothing.
There’s such a range of emotions in those final scenes. The shooting is so tense, and the part where you fall off the boat is at once funny, horrible, and surprising. What was it like to shoot that sequence?
I didn’t feel like the boat was that far off the water. I wanted it to be me. I wanted it to be me falling off the boat. I didn’t want it to be a stunt double. Mike was like, “The water’s really cold!” And I said, “I don’t care if the water’s cold! I want to fall off the boat!” He said, “Jennifer, our stunt double has been waiting here all night to do her stunt. It would be weird to say, ‘Hey you can go home now.’”
She was this very cool Italian woman, and she was very funny, so yeah, it would be weird to just send her home. But I was like, I get why Tom Cruise wants to do his own stunts. You think, Well, why can’t I do that? Who cares if the water is cold! But it was this fall between these two boats and insurance and you know. But it would’ve been fun.
The thing that was interesting when I was arguing with Mike — well, not arguing, but talking about the way she loses her life — is he was saying it has to be at the fault of herself and not anyone else. A clumsy moment. I heard Mike telling someone that’s what happens with Tanya because “I think that’s what happens to Jennifer. She locks herself in the bathroom or something. She can get the big stuff done but not small things. Some weird little thing can just mess her up.” There’s something, unfortunately, very unconscious about me.
You know, Mike and I went to Africa together, and we were staying in a tent. I had this experience on the Serengeti where the animals were outside the tent, so you have to have a chaperone take you from the tent to the mess hall where you eat. And sometimes I would open up the tent and walk out and forget that you have to yell for the chaperone. I’m that kind of person. I’m thinking about something else and then I just walk out there with the wild animal.
I saw a lot of responses to the finale that were surprised Tanya didn’t think to take her heels off before jumping off the boat.
Sometimes you don’t do things that are practical when it’s really high stakes. I think if they were pumps, it would be weird.
Ah, because they’d be much easier to take off.
Yeah! You’re just having to make a decision, your life is at stake. We shot that a couple different ways, but I don’t think we ever shot it without the heels. It is so weird, though. It’s that panic mode where you’re murdering someone or it’s high stakes and you don’t do that thing — that obvious thing — that anyone would’ve done in normal circumstances.
You do such great improvisational work. Was there any ad-libbing in any of your big finale scenes? I would guess you know that “These gays, they’re trying to murder me” has already taken over the internet.
I don’t know! I don’t know if Mike wrote that or if I improvised it. There were some things like that that did make it, but I don’t know. When in doubt, I want to say it’s Mike White. I add whenever I can, and some of it works. But “These gays are trying to murder me” was to the captain, and I don’t know, I was trying all sorts of stuff. But that could’ve been a Mike White line.
At the moment you fall off the boat, you say, “You’ve got this,” to yourself, which is so moving and funny and tragic.
It was a long shooting day; I was delirious. I think we tried a couple different lines at that moment, and I don’t remember what the other ones were. We were trying to come up with some little thing that would be an encouragement to herself.
Sometimes you have experiences that are so vivid, and you remember every moment. White Lotus two has become this dreamy thing. People ask me what time we shot something or whether it went all night, and I have no idea. We were shooting so fast, trying to get seven episodes in this short amount of time.
So there was a stunt double falling off the boat, but there are also several shots of you in the water. Did you shoot those yourself, or is there a Jennifer Coolidge dummy lying around somewhere?
I was definitely floating in the ocean when Daphne discovers me, that was me floating around. I had to hold my breath for a long time.
You know, I’ve only seen the finale once now. I watched it Sunday night with Mike White. I’m not sure what was me and what was the stunt double. I’m so fascinated.
It must’ve been pretty wild watching it with Mike last night.
It was! I was one of the few people that knew the finale. I knew everything. And yet I thought it was really suspenseful! I thought that was a good sign. I told Mike, “Isn’t it weird that I’m watching it as though I have no idea?” He’s really good at building tension.
He is! I feel so frustrated that Greg is going to get all of Tanya’s money now.
Mike told me not only does Greg get all the money, but he doesn’t have to share it with Quentin. Worse, right?
The finale was such a secret. Was it a closed set to avoid any spoilers leaking?
There were so many people on that boat, makeup and hair, and of course everyone is very discreet. But I’m surprised no one leaked it! I thought maybe someone would tell their wife or something. But everyone was so closed-lipped about it. It really blows me away.
Were there other characters whose stories you were particularly invested in this season?
The story that fascinated me the most is the story that I witness the most, and am fascinated by it, and my girlfriends and I talk about it over and over: The story line of the two couples. The betrayal, the cheating — I’m most interested in that topic. How do you have a good relationship, how can you make it last, when there’s infidelity? How can you survive it? I thought it was so well written. I’ve been interested in that topic for 30 years.
With a little distance, how do you feel about this as an ending for Tanya?
Mike White’s very realistic. I don’t think everyone gets to be the hero in the end or everyone gets to live in the end. It’s sad. She’s finally able to forgive her mother in season one and finds this guy, and he ends up being this awful human being. He tries to murder her. It would be so great if I come shooting out of the water and I’m alive at the end, but Mike likes to stick to reality. Tanya was sort of doomed. I think she had to go.
So many of these stories are bad in real life. The guy ends up with all the money. But if you’re asking me, the actress, if I’m sad about it — yes. I am sad about moving on. It’s good to mix it up, though. Mike White is truly the greatest friend. He gave me White Lotus one and two. If he asked me to come back as someone else? Or asked me to do a prequel? I would totally do it.
 

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The White Lotus Season-Finale Recap: Dead in the Water
By Tom Smyth
The White Lotus
Arrivederci
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Finally, after weeks of speculation and theorizing, we know exactly whose body Daphne bumped into on the last swim of her Sicilian vacation. We had to say farewell to our sole holdover from season one: Jennifer Coolidge’s Tanya McQuoid. But since this is The White Lotus, her death was, of course, anything but straightforward. And because of the endlessly expanding web that Mike White weaved over the last six episodes, that was just one of the many loose ends that this finale was tasked with tying up.
When our day begins, Ethan is still haunted by the thought of Harper and Cameron sleeping together, Daphne is FaceTiming her blonde and blue-eyed children, and Dominic is staring longingly at a photo of his absent wife and daughter (the photo they use for his wife, unfortunately, is not Laura Dern, but we can just pretend). Meanwhile, their son Albie is pillow-talking with Lucia and making big plans for her to come to Los Angeles. Such big plans, in fact, that he asks his father for 50,000 euros to give her. Dominic balks at this truly insane idea until Albie calls it a karmic payment and promises to put in a good word with his mother if Dominic agrees.



Elsewhere, in Ethan and Harper’s room, Ethan finally confronts his wife about her (real or imagined) tryst with Cameron that’s been occupying his mind for every waking moment. The pair go back and forth about who’s telling the truth about each of their respective suspicions, but finally Harper caves. She admits that they drunkenly came up to the room, where Cameron latched the door, but assures him that they just kissed. “So it wasn’t for the hat?” Ethan asks, referring to Harper’s original excuse for coming up to the room. “No, it wasn’t for the hat.” It was a drunken, stupid nothing, but the real issue, Harper says, is that Ethan isn’t attracted to her. This deflection doesn’t work because Ethan still doesn’t believe that she’s telling him the full story, and he’s convinced that more happened. Either way, one thing is for sure: Cameron tried to fuck his wife.
With this hunch now confirmed, Ethan storms out of the room in search of Cameron, who he finds and confronts while taking a swim at the beach — uh-oh, the scene of the crime. Years of resentment over Cameron’s “mimetic desire” and constantly being treated as less than erupts as Ethan attacks his old roommate. The pair start brawling in the water like they’re Denise Richards and Neve Campbell in Wild Things, taking turns holding each other down under the water and flirting with a drowning. Finally, it ends when Ethan delivers a swift punch squarely to Cameron’s face and calmly exits the ocean.
His post-fight walk eventually leads him to Daphne lounging on the beach, who asks if he’s doing okay. He tells her that he thinks something happened between their spouses, and her face drops for a moment, but in true Daphne fashion, she bounces back. She tells him that she doesn’t think he has anything to worry about, before delivering yet another ethereal take about dealing with infidelity and how it’s impossible to know what really goes on in people’s minds. “You don’t have to know everything to love someone,” she says, before echoing the same words she told Harper earlier in the trip about doing whatever you have to do to make yourself not feel like a victim. What does that entail in Ethan’s case? Well, a walk they take. just the two of them, implies that having sex themselves might be the thing that does the trick — Trading Spouses style.
Daphne could and should start a cult. I want to see her give spiritual advice to Oprah every week on Super Soul Sunday. She should wear flowing white gowns for healing retreats held in a field and black turtlenecks for corporate TED Talks. I want to read the book her ghostwriters put together after three stream-of-consciousness interviews over arugula salad. She should run for office. She should lead a country, for all I know! In saying good-bye to all of our guests, I’ll miss her the most.

As Tanya prepares to head back to the hotel, she suddenly remembers the picture she found last night during her cocaine-fueled sexscapades. She understandably thought it might have been a dream, so she returns to the room to find that it was, in fact, real. As she examines it, Quentin walks in and tells her that the man in the photo’s name is Steve and he worked on a dude ranch. “He looks just like Greg,” Tanya says, noting the uncanny resemblance.
Tanya has been willfully blind to every red flag that has come her way since we’ve met her — it’s a part of her charm! And she isn’t snapped out of that habit until she’s on the yacht and gets a call from Portia, who stole Jack’s phone to call her while he used the bathroom. When Portia tells her about her missing phone, Tanya finally fills her in on what she saw. “He was kinda … fuckin’ his uncle,” she says, reminding us all how lucky we are to live in a world where Jennifer Coolidge gets this kind of dialogue.
Portia thinks something bad is happening (no shit) and tells Tanya what Jack let slip the other night about Quentin not really being rich and how he’s supposed to come into a windfall. Suddenly Tanya’s rose-colored glasses are shattered and it all hits her. Greg was the one who insisted they come to Sicily, and if they were to get divorced, he’d get nothing, but if Tanya were to die … that’s another story. But when Jack returns, their call is cut short and they have to return to their respective captors.
“Can you just cut the shit? Have I been kidnapped?” Portia asks Jack outright. She tells him that she knows something is up and confronts him about fucking his “uncle.” This takes the wind out of Jack’s sails, who’s no longer in the mood to follow through with the plan of showing her around town to keep her occupied. He frighteningly tells her to just let him do his job, and Portia doesn’t understand how she’s a job to do.
Tanya, now anchored at the resort, has been informed that she won’t be leaving the yacht until later when her Mafia-connected one-night stand, Nicolo, comes to fetch her via dinghy. Absolutely panicked, she scurries around the yacht attempting to call for help but drops her phone overboard: The sea’s first casualty. But ah! She spots the captain in his little knit cap; maybe he can help her. “Do you know these gays? Do you know these gays?” she urgently asks him, explaining everything and begging to be brought to shore. But of course, he doesn’t speak English, and the language barrier makes this whole conversation completely unfruitful. Worst of all, here comes Nicolo, who Tanya is convinced is her soon-to-be assassin.
A much different scene is playing out over dinner in the hotel restaurant, where all loose ends are tied up in neat little ribbons. Cameron finally slips Lucia the money he owes her before toasting his travel companions as if he wasn’t just pummeled in the ocean. Mia excitedly tells her No. 1 fan, Bert, that she got the job as the pianist. And Dominic tells Albie that he made the karmic payment, and he goes to excitedly tell Lucia to check her bank account. For his part, a good word has been put in with his mother, so much so that when Dominic calls her that night, she actually answers (more Dern!).
Back in their room, Harper asks Ethan what’s going to happen to them, and suddenly they start having sex (finally!). Lifting her up onto the table, they knock over and shatter the teste di moro vase that, as a symbolic omen of infidelity, has been haunting them the whole trip. Did Dr. Daphne’s advice and/or services actually work?
Things look bright for a moment, until we return to the yacht and remember that poor Tanya is being held captive. She’s haunted by Nicolo’s duffel bag, knowing from last night that it contains a gun — and now she’s trying to stall. She wants another glass of wine first, until the thought of it being poisoned seems to cross her mind.
Even though the paranoia is completely warranted, it’s such a great emotion to watch Jennifer Coolidge play with. It makes me mourn the never-made Mike White–Jennifer Coolidge project, Saint Patsy. Coolidge would have played a paranoid actress who begins to spiral when she starts to believe an awards ceremony is really a ruse from an ex-boyfriend trying to kill her. It seems like we’re getting notes of that concept this season, but I hope that doesn’t stop White from eventually making it happen one day.
Meanwhile, Jack has driven Portia to some creepy, abandoned locale. “Why have we stopped?” Portia asks before he gets out and lights up a cigarette. “Where are we?” Instead of going to the resort, Jack brought her to the airport, advising her not to return to the White Lotus and get right on a plane. He warns her not to mess with these powerful people and tosses her missing phone out the window as he drives away.
While Portia has been miraculously spared from her grim situation, Tanya is still in the thick of it, excusing herself to use the bathroom and snatching Nicolo’s duffel on the way. She locks herself in a room and empties the contents on a bed to discover rope, duct tape, and a revolver — like this is some kind of life-size Clue board. Soon enough, the men are all pounding on Tanya’s door. Sobbing, she points the gun at the door. She’s been cornered. They break down the door, and she begins shooting her way through the yacht.
Bloodied bodies sprawled about, she sees that a wounded Quentin is still alive. “Is Greg having an affair? Tell me, I know you know,” she asks. Even in a world where Greg has orchestrated her murder, the thought of him cheating on her still consumes her. It’s so brilliant and classically Tanya. What happens next is also classically Tanya.
All she has to do is board the dinghy and escape to land, but as she heaves herself over the yacht railing, she loses her balance, plummeting onto the side of the boat and into the sea. Drawing one last parallel to Madame Butterfly, booming opera music plays as Tanya McQuoid drowns off the coast of Italy. Of course her downfall, no pun intended, would be her own doing.
Morning comes, and we see our guests one last time before checkout time. Lucia leaves Albie, taking the money and running. Daphne bids our Survivor contestants farewell before discovering Tanya’s body. The police swarm. At the airport, the Di Grasso men gawk at a passing woman, each more like the other than ever. Our now-happy couples sit at their gate wrapped in each other’s arms. Portia buys an elaborate disguise that somehow makes her look less insane than her real clothes.
Despite her airport gift-shop hat and sunglasses, Albie recognizes her as they wait for their flight and these two crazy kids reunite, bonding over their misguided rendezvous. Albie breaks the news that somebody died, all but confirming Tanya’s fate to Portia, who doesn’t let the bad news stop her from finally making a good decision and exchanging numbers with him. Another happy ending? Lucia and Mia joyously galavanting through the streets of Sicily, having had the best week out of everyone staying at the resort.
 

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The White Lotus’s Theo James Knows ‘Something Else’ Happened Between Cameron and Harper
By Marah Eakin@marahe

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You’ve gotta hand it to Theo James: He found a way to turn his White Lotus character, Cameron — an abhorrent finance bro who cheats on his wife, never votes, and seduces the wife of one of his oldest friends — into a surprisingly charming antagonist. Perhaps that’s why audiences never fully turn against the minor monster even as he consistently wrongs his winning wife, Daphne, played by the effervescent Meghann Fahy, or defends some unnamed associate for whipping yogurt at his assistant’s face.
That’s not to say Cameron never gets knocked down: As viewers of The White Lotus season-two finale saw, a massive sea brawl between Cameron and Ethan (Will Sharpe) nearly kills them both. And, earlier in the episode, Cameron is reluctantly browbeaten by one of his small children — or at least a kid he thinks is his — into coming to the phone. (Yes, James has heard the theories about those little blond cuties.) And yet, it seems as if James hasn’t made up his mind about whether Cameron is inherently evil or merely insecure. “When you do a character, you have to find some way to identify with them,” he tells Vulture. “But then I even forgot about the yogurt, so when you just said that, I was like, Jesus Christ, he’s unapologetically such a bad person.”


Let’s get the big question out of the way: What do you think happened between Harper and Cameron? There is some time unaccounted for.
I always read it as Harper says, pretty much. I think she feels oddly attracted to this monster that is Cameron, but she’s also trying to use the incident to wake Ethan from his existential and sexual reverie.

In terms of what specifically happened, though, it was probably more than she let on by half. Maybe not the most extreme version of that scenario, but there was something else.
What gives Cameron the confidence to do any of what he does, including coming on to Harper in front of his wife and his friend?
It’s a deep insecurity. He’s spiraling a bit. His place in the world is being fractured. His very basis is wealth and social and economic position, and now he’s in a place where, in his mind, doing less is a trend, just like having less confidence and social standing and prowess with women. Also now Ethan’s a very wealthy man, more wealthy and more successful than Cameron, so Cameron needs to reestablish his own identity.
When Mia and Lucia say, “It’s going to be expensive,” Cameron says, “I’ve got money. That’s the one thing I do have.” For Cameron, that’s a tiny admission but also quite an illuminating one. He believes there’s something lacking in him, so without money and power, he doesn’t know what he is. That’s why he’s trying to demean his friend. He’s trying to control him. He’s trying to own his friend and own his wife in a search for control.
Is that why Cameron was pushing Ethan to get with Mia and Lucia? Like, “If I can get him to sink to my level, that’s something.”
That’s part of it. He does want to push Ethan into a rabbit hole where it’s going to be hard to extricate himself.
On the other hand, though, in a funny way, the best thing about Cameron is that he wants to be closer to Ethan. Although Cameron has elements of being controlling and domineering, he is also loving in his own way, which, for me, made him compelling. He does love his friend, even though he’s competitive with him and wants to dominate him, and he does love his wife. So it’s not only a quest for control and domination, but it’s also a quest to be closer. He thinks, If I can take you there, if I can rattle your cage, open you up, we’ll be closer.
When Ethan does confront Cameron about Harper, Cameron instantly denies anything. Why is he gaslighting Ethan?
Because he’s an arch-manipulator. He’s gaslighting at all times. That’s encapsulated at the end of episode seven, where he does the toast and says, “This has been a fucking great week, and I’ve gotten to know you both so much better.” He’s calling it out and then shying away from it. That lying is done through instinct. He thinks it’s okay, too. Like, Why would it matter? It was just a bit of heavy petting. Like, I’m trying to help you, man. I’m trying to wake you and your wife up.

Talk to me about shooting the big fight scene with Ethan.
It was a process. It changed and evolved a bit from its earliest conception, but because it was the season finale, Mike wanted you to think it was going one way, and then suddenly things go the other way. And then, in the end, it goes neither of those ways.
It does feel like you’re both goners for a second.
We did that scene toward the end of the shoot, and we did different versions. There was a version where Cameron was more obvious about what he did. He was more snide, but I found that to be too immediate and less interesting. It made the relationship less complex.
It’s a destructive situation. That’s why we ultimately wanted that fight to come from a place where Cameron gets confronted and is like, No, what the fuck? I love you. You’re going mad. Come on. Because you’re not 100 percent sure what happened between them, if anything at all. We wanted to make you think, Is it just a combination of Ethan’s paranoia and jealousy?
What do you think happens between Ethan and Daphne?
That’s deliberately opaque for a reason.
When Harper calls Cameron an idiot after the comment about the yogurt throwing, we don’t see him respond. What do you think he was thinking, or did he not think about it at all?
When you do a character, you have to find some way to identify with them. But then I even forgot about the yogurt, so when you just said that, I was like, Jesus Christ, he’s unapologetically such a bad person.
In a way, that nonresponse was Mike’s choice in the edit. I haven’t seen the episode yet, but Cameron doesn’t give a shit. He’s used to that style of flirtation with women thinking he’s crazy or too wild. It’s Harper’s tell that something happened between them because she’s clearly attracted to him animalistically, but existentially she’s repulsed by him as a person.
There’s a part of me that wonders just how he and Ethan became such friends in the first place. Although I suppose, as adults, we often have friends that make no sense, just because we’ve had them for a long time.
They lived in the same dorm room, so they were thrown together first. In the series, I think the bit that best illustrates their relationship is in the morning after they’ve had that wild night. They’re lying in bed together and they’re talking and joking. It’s a bit of university camaraderie.
They’ve evolved away from each other as friends and now have basically polar opposite visions of the world in front of them. But then, men being men, they can always find strange, common ground if they have history together.
There’s a theory floating around online that Daphne and Cameron’s kids aren’t his since they have blond hair and blue eyes just like Daphne’s trainer. What do you think about that assertion?
I think one of them is his kid.
You know, Meghann’s character is one of the most accepted characters on the show because of her warmth and bubbliness, her energy. She can go out and deliberately make friends, like when she’s initially against the ice wall that is Harper. At the same time, the way Daphne rectifies the situation is she does some pretty appalling things to feel a level of power over Cameron. Their relationship was born of love, but it’s fallen into a cycle of games and control.
There are videos making the rounds of you all dancing behind the scenes and generally having a good time. Is there a day or a memory that you really cherish from the shoot?
Michael Imperioli unwittingly started a tradition on the shoot. It was his birthday fairly early in March or something, and being the classic guy that he is, he put on a lunch for the cast and the crew. We had drinks and Italian food, and someone gave a very classy short speech. But then there were about six birthdays in the next month or so, and actors being actors, each time someone had a birthday, the person had to up the ante. We went from Michael’s nice and relaxed birthday to these full-on catered events with these long, incredible speeches.
 

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The White Lotus’s Watery End
By Roxana Hadadi, a Vulture TV critic who also covers film and pop culture
Photo: Fabio Lovino/HBO/
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From the opening moments of this season of The White Lotus, Mike White has made us wonder: Who’s in the water? Whose body does Daphne bump into in season opener “Ciao,” and who else do the Italian police find? Is it Cam, Harper, or Ethan — members of married couples in various levels of matrimonial distress? Is it one of the Di Grasso men on a male-bonding family trip to the motherland? Sex workers Lucia and Mia or beleaguered assistant Portia?
These characters all walked to the water and gazed solemnly over it. They watched waves crashing on rocks. They heard stories about people who were killed for their seafront property, their bodies tossed off cliffs. And at the end of “Arrivederci,” it is returning White Lotus guest Tanya who is found drowned, marked for death by her frilly, pink, floral dress — so similar to the one worn by the dummy version of Michael Corleone’s first wife, Apollonia, at The Godfather tourist attraction visited by Portia. “Death is the last immersive experience I haven’t tried,” Tanya told her not-yet-husband Greg in The White Lotus season-one finale, “Departures,” and it’s with a sense of narrative self-referentiality that White transforms Tanya’s relationship with water from first-season baptism to second-season oblivion.

Water is a well-established symbol of rebirth in art and literature, and White has recurrently evoked that meaning in his own work with additional layers of fantasy and surreality. In Enlightened, he used various underwater imagery to wonder how people view themselves in the vastness of the universe — are we pearls that “hide under the sand on the ocean floor,” waiting for someone to notice us and claim us? Is the beatific serenity of a sea turtle, fully aware of and at peace with itself, possible for us? In season one of The White Lotus, the Hawaiian beach and water are places of refuge for wealthy white teenager Quinn, who sleeps on the sand and is enthralled by the seeming purity of the landscape, and for Tanya, who arrives in Hawaii to make peace with her mother’s death.
Tanya is introduced to us as self-centered and self-absorbed, actively harmful toward the White Lotus’s staff, and profoundly concerned with how she looks — especially to men. The first time she tries to scatter her mother’s ashes while on a chartered boat in “Mysterious Monkeys,” she is hysterically upset — her face frozen in a mask of agony and resentment. But in “Departures,” after all the support provided by White Lotus employee Belinda, she’s effervescent and at ease, practically dancing through the surf as she tosses handfuls of ashes into the air. She turns around, looking at the water that surrounds her, and finds a fresh start in it. The same goes for Quinn: After watching Tanya walk along the beach, he abandons his family and stays in Hawaii to canoe with a group of locals who, warmly and unquestioningly, accepted him into their crew. One of the final scenes of “Departures” is Quinn on a Hawaiian-style outrigger boat paddling far away from the shore (and his old life) and moving toward the sun and something new.
This season of The White Lotus, though, clearly and deliberately subverted that ending. Those opening-scene deaths signaled a different approach: Gone was an aquatic environment as restorative or welcoming, and in its place was the ocean as mysterious and impenetrable — not too far off from what Daphne says to Ethan about marriage in “Arrivederci.” When Daphne observes, “We never really know what goes on in people’s minds or what they do … There’s still this part that’s a mystery,” she’s talking about the ambiguity of companionship and the impossibility of ever fully anticipating what someone you love and trust might do — or do to you. Take those statements figuratively, though, and they feel a bit like commentary on the ocean: the 95 percent of it that remains uncharted and unexplored by humans, entire ecosystems in which we have no part. There are patterns and rhythms to the ocean that operate with their own intent and on which we have no impact, and White immediately establishing the water as a place of death this season amped up the unknowability of that underwater world.
Photo: Francesca D’Angelo/HBO
Every one of these seven episodes used as B-roll waves crashing on rocks and splashing up onto cliffs, pebbles caught in undertow and sunlight dappling on the water’s surface, and sometimes even rewinding footage of the surging tide to convey a natural, unpredictable, even aggressive menace — not dissimilar from how David Lynch used trees, leaves, and winds in Twin Peaks as a reminder of all that goes on around us with no regard for our presence or our interference. In The White Lotus, there’s something comforting about our personal irrelevance in tension with other people’s choices, Daphne seems to say, because it gives us freedom to decide for ourselves how we act and react.
To take that idea of inscrutability back to Tanya, her actions this season have often felt like those of someone caught in a riptide — going with the flow until there’s no turning back and no one to save her. She’s different from a character like Daphne, who sees the storm and swims parallel to it, charting her own path through the chaos. Instead, Tanya’s end feels like both a pointed rebuke of her faux triumph at the finale of season one (frolicking along the beach and believing that water could cure her when it was really the abandoned Belinda’s constant emotional labor) and a somewhat sorrowful reminder that the answers we most seek are the ones we never find.

Tanya guesses that Quentin, “these gays,” and mob-affiliated Niccolo were planning to kill her. Why else would Jack have abducted Portia and stolen her phone? And why else would Niccolo be taking her back to shore with a bag full of rope, duct tape, and a gun? But Tanya, who shoots her way through the men, never finds out to what degree Greg, whose picture Quentin kept at his bedside, was involved in the scheme. Quentin dies as she’s questioning him. Was that fortune teller’s reading of Tanya, in which she guessed that Greg was having an affair and that Tanya would kill herself, correct? Sort of. Although misjudging the distance between two boats and hitting your head is more of an accident than a suicide.
A fair amount of all this is up for interpretation and — to White’s Daphne-voiced point — ambiguous until you make up your own mind about what you want to believe. There’s clarity, though, to White sending Tanya to a watery end and to his warning that what we believe will heal us might actually be what hurts us. The line between comedy and tragedy is a thin one, after all, and Tanya could only balance on it for so long before slipping.
 

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The White Lotus Recap: Suspicious Minds
By Tom Smyth
The White Lotus
Abductions

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Few shows welcome rabid theorizing more than The White Lotus does, between its promise of impending death and every episode’s ominous ambiguity. If you’ve been on the internet at any point over the last five weeks you’ve probably seen a lot of those theories, because everybody’s watching this show with a suspicious eye. And while we’ve had our guard up this whole time, it seems like our characters have finally caught up — reading into every little interaction and developing suspicions of their own.
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As if anybody needs reminding, last week’s episode ended with Tanya discovering Quentin having sex with his “nephew” Jack. Though she doesn’t make any bold moves with this new information, we see it result in budding suspicions, particularly when Portia tells her that Jack didn’t pay for arancini, which is notoriously cheap. “Something about his relationship with his uncle … I don’t think it’s his uncle,” she says, urging Portia to slow down with him while simply crediting a strong hunch.

After encouraging Portia, whom Tanya says reminds her of her younger self, to get her shit together, Tanya seems cooler toward Quentin when he arrives, mentioning not being able to sleep because of strange noises in the night. But the second Quentin mentions the party he’s throwing in her honor, Tanya crumples back into his clutches, as if that’s enough to make her forget the whole thing.
Another character dealing with her own suspicions is Harper, who’s still grappling with the condom wrapper discovery despite Ethan’s explanation. “I feel like you don’t believe me, it’s starting to drive me crazy,” Ethan says, pleading with her to give him a break. Harper says it’s not the cheating that’s bothering her but what it says about their unfulfilling sexual relationship. “Do you even want me?” she asks, to which Ethan says he loves her — which isn’t what she asked.
In the next room over, Daphne and Cameron talk about this alleged bad behavior in a very different way. “What’d you do this time?” Daphne asks casually, before they flirtatiously joke about their respective infidelities. This scene, in which talk of cheating is treated like foreplay, confirms what we already knew about these two couples’ contrasting relationships with infidelity.
When the foursome reunites for a beach day, Harper’s suspicions continue to fester after spotting Ethan talking to Lucia and Mia (who are still owed money) and later Cam. But then we see a staggering shift. With Daphne off getting a massage and Ethan taking a swim, Harper and Cameron go up to the bar, but when Ethan emerges from the ocean, they’re nowhere to be seen. He goes up to their room to find her, where he discovers the door latched and the adjoining door to Cameron’s room open. Now Ethan is the suspicious one, especially considering Cam’s notorious “mimetic desire” and the fact that Harper is suddenly in a much better mood. Could she have done what she needed to do to make herself feel better like Daphne suggested? Or, as she tells Ethan, did Cameron just vouch for her husband’s good behavior that night? If so, why does Harper all of a sudden value what Cameron has to say?
While many are starting to finally catch on to what’s going on around them, one character still living in ignorant bliss is Albie, who seemingly still has no clue that his new love interest was his father’s escort. He’s so in the dark about this detail that he thinks it’s a good idea to invite Lucia along for their genealogy day trip as their translator. Lucky for an anxious Dominic, they have bigger problems to deal with than Lucia using the Di Grasso family’s 23andMe as her own personal dating site. They find themselves in a quasi-car chase when they realize they’re being trailed by Alessio, but rather than escalate matters, she instructs them to pull over. She switches cars to appease Alessio, which the Di Grassos consider a voluntary abduction.

Without their translator, their search for distant relatives is a bust. They arrive at the home of some fellow Di Grassos, who chase them away with knives and Italian diatribes. Fittingly, these angry potential relatives are all women; if this was the experience Dom wanted he could have just stayed home with Abby. The failed expedition is particularly tough on Bert, who fantasized about a grand homecoming. The usually jovial patriarch, cheery even when falling down stairs, is demoralized by the trip not going how he imagined.
He skips dinner, instead listening to Mia play her second night on the restaurant’s piano. Also listening on is Valentina at the bar. It’s her birthday, and her plans to finally go out with Isabella come to a screeching halt when she finds out that she’s engaged to Rocco of all people. So a lonely martini at work will have to suffice, until she’s joined by Mia, to whom she confides that she’s never actually been with a woman. This of course is a problem that Mia is able to fix, and she does just that in a vacant second-floor suite.
In his own suite, Ethan, having just told Cam to stop flirting with his wife, is having visions of Harper’s imagined infidelity. We see him picture what the scene could have looked like from inside the room he was locked out of, with Cameron sneaking away through the adjoining door. I don’t know if we’ll ever actually find out what really happened, but that isn’t really the point anyway. What’s important is the not-knowing, and how Ethan’s mind fills in that blank. The real action of this plotline isn’t what happened, it’s what’s going on inside these characters’ minds and how these seeds of suspicion (justified or not) can do irreparable damage in the real world.
Back in Palermo the party is getting started, with Quentin setting Tanya up with “arm-candy” Nicolo, who may or may not have mafia connections but definitely has cocaine connections. While Tanya partakes in her arm candy’s nose candy, Portia is nowhere to be found — having been whisked away on a day trip by a drunken Jack, whose sheen is starting to wear off. Rather than return to the palazzo for the party like Portia wanted, they get a hotel room, which was seemingly Jack’s (or perhaps Quentin’s) plan all along.
Jack getting drunk enough to keep Portia away from the party (and thus keeping Tanya isolated) also means he’s drunk enough to start spilling the beans, and he reveals that Quentin isn’t really as rich as he says. In fact, he was at risk of having to sell his family’s palazzo, but luckily, Jack says, he’s coming into money now. “Is he?” Portia asks, catching on to what’s happening. Jack also says he’s happy to help Quentin, since he once helped him get out of “a dark hole,” presumably a different hole than the one he was in last night. With these vague revelations, we see the grand return of worried, furrowed-brow Portia, who can only imagine the plot playing out at the palazzo without her.
That apparent scheme seems to be going to plan, with Tanya releasing her inhibitions (to quote Natasha Bedingfield) and dancing the night away before making out with Nicolo. In yet another example of the show’s phenomenal soundtrack, Tanya parties to “Ciao Ciao” by La Rappresentante di Lista, an upbeat pop song with lyrics about the end of the world. When the two sneak away into a bedroom, she stumbles across a framed photo that appears to be of a young Quentin alongside a younger version of a man Tanya recognizes — her husband, Greg. If that is the case, this validates a common fan theory: that the one love of Quentin’s life, the Wyoming cowboy, was actually Greg. So what’s going on here?
Naturally, this new revelation opens the door for even more speculation and theorizing. For example: Are Greg and Quentin working together on this grift? We’ve heard Greg bemoan the prenup that Tanya has in place keeping him from her money, but is it possible that said prenup has an infidelity clause? In that case, Tanya cheating on Greg, which Quentin has been laying the groundwork for and facilitating all day, could spell a windfall for these two potential schemers. My one note for Mike White would have been to have the picture of young Greg be Jon Gries in character as Uncle Rico from Napoleon Dynamite.
Tanya doesn’t dig into this photo nearly as much as the audience undoubtedly will, primarily because she’s soon interrupted by a completely naked Nicolo. And if getting Tanya to cheat was the goal, things seem to be going according to plan.
 

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Mr. Pool
Started this and succession recently, succession is dope and I'm already on season 4

So far I'm like two episodes in on this and it just seems like white boring bullshit, does this get any better or get a plot that's interesting? Is it really just rich quirky white people sitting around dealing with white White people problems? All good for anyone to like what they like hair want to know if anything happens or if after two eps I should just call it a day.
 

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How Natasha Rothwell's Belinda can return for The White Lotus season 3​


"Belinda is back baby!" declared Rothwell.
Sydney Bucksbaum

By Sydney BucksbaumApril 19, 2023 at 04:19 PM EDT




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Natasha Rothwell is checking back in to The White Lotus.
EW has confirmed that the actress is returning for season 3 of the HBO comedy as Belinda, the spa manager who formed a fragile bond with Tanya (Jennifer Coolidge) during the first season. Rothwell shared her excitement on Twitter on Wednesday. "Belinda is back baby!!!" she wrote.

When viewers last saw Belinda, she was frustrated after Tanya strung her along with the idea to invest in her wellness practice only to leave her hanging, business plan in hand. Tanya decided that her new relationship with Greg (Jon Gries) was more important and that she needed to end her dependency on transactional relationships, so she left Belinda with some money as a consolation/goodbye gift. Belinda, feeling dejected, ended up throwing her business plan away.

Natasha Rothwell in 'The White Lotus'

Natasha Rothwell in 'The White Lotus'

| CREDIT: MARIO PEREZ/HBO
Coolidge and Gries were the only original cast members to return for the series' Italy-set season 2, and their relationship took a dramatic turn. The intense season 2 finale revealed that the dead body discovered floating in the ocean in the premiere was none other than Tanya. After Greg bailed early on in their vacation, Tanya fell in with a wealthy English charmer and his entourage who whisked her to Palermo to wine and dine her. It turned out, however, that the men were working with Greg to kill Tanya and steal her fortune — the prenup he signed states that he only inherits her money in the event of her death. Tanya became aware of the plan thanks to her assistant, Portia (Haley Lu Richardson), who tipped her off. Tanya valiantly fought back against the conmen, shooting several of them before accidentally falling off the yacht to her death.
Does Belinda's return have anything to do with the events of season 2? Did Portia fill authorities in on what she knows about Tanya's suspicious death? If so, Greg's claim on Tanya's money could be refuted. Perhaps some of her fortune will find its way to Belinda, who could very well be spending Tanya's money as a guest at a White Lotus resort or as the owner of her own wellness practice that the guests frequent. Or maybe Belinda's return is something much simpler — a transfer, perhaps, to another White Lotus location after her experience with Tanya in Hawaii.

Rothwell's role in the first season earned her a nomination for best supporting actress in a limited or anthology series at the 2022 Emmys. The series will now compete in the drama categories, however, since it has continued with returning characters (it was originally meant to be a one-off season).
 
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