Privileged Paradise
Image Courtesy: ELLE
For a lot of people, HBO constantly delivers well-received TV. Mike White’s series The White Lotus (2021) has captivated audiences with its biting social commentary and darkly comedic take on the privileged elite. Within its two seasons, the show uses the backdrop of luxury resorts to expose the darker sides of wealth, power, and tourism culture. By exploring these exclusive getaways, The White Lotus critiques how specific tourists exploit and remain oblivious to the people and culture that cater to them while traveling.
At its core, the series examines how tourism, particularly at high-end resorts, reflects inequality. The guests usually arrive seeking a haven from their problems, expecting to be pampered and entertained while abroad. And what could be the harm in that? A lot. Season one is set in a Hawaiian luxury resort, exploring a narrative about the exploitation of local workers and the entitlement of wealthy guests. Tanya McQuoid, played by Jennifer Coolidge, embodies an excess of wealth that she promises her masseuse, only to discard her once her attention lies elsewhere. Meanwhile, the Mossbacher family presents a more insidious form of privilege. Nicole, the mother played by Connie Britton, preaches about her feminist success, while her son Quinn, brought to life by Fred Hechinger, is the only one who genuinely connects with the local culture, ultimately rejecting his life of privilege in favor of a more simple existence. Nicole has an awkward encounter when journalist Rachel, Alexandra Dadarrio’s character, excitedly approaches her and gushes about her feminist book. However, Nicole swiftly shuts down her enthusiasm, making the moment even more uncomfortable. This contrast highlights the exploitative cycle of tourism, where vacationers consume cultures without truly engaging in them.
Image Courtesy: Vogue
Luxury tourism often sells the illusion of escape and self-reinvention, but The White Lotus deconstructs this fantasy by showing how wealth and privilege shape every interaction within these spaces. Furthermore, in season two, set in a Sicilian resort, the characters Harper, played by Aubrey Plaza, and Cameron, played by Theo James, represent the clash between different shades of privilege and self-perception. Harper, a sharp and skeptical outsider, arrives at the resort with a critical view of the lavish world she is a guest star of, while seemingly carefree Cameron embodies entitlement as a businessman. Their dynamic underscores the performative nature of wealth and how people justify or obscure their privilege. Through these characters, The White Lotus highlights how power dynamics, deception, and status games persist, even in spaces meant for relaxation and escape.
Image Courtesy: The Crimson
One of the show’s most poignant critiques is how wealthy tourists commodify and dilute local cultures for entertainment. In both seasons, the resorts act as sanitized bubbles that strip away the authenticity of their surroundings, offering a curated and Western-friendly destination. This is apparent in season one, where native Hawaiian characters serve as reminders of the land’s true history. Similarly, in season two, Sicily’s rich cultural heritage is reduced to a backdrop for tourist fantasies. The characters Daphne and Harper wander through ancient ruins, using them to boost social standing, only focusing on the look of being in an exclusive place rather than feeling immersed in the location. Furthermore, Tanya has an obsession with The Godfather (1972), which reduces Sicily to a Hollywood stereotype rather than a living and breathing culture. These moments intend to highlight how tourism often flattens the very places people claim to celebrate.
Image Courtesy: The Washington Post
The portrayal of these flawed characters makes the viewers question their relationships with luxury travel. While the show is exaggerated for dramatic effect, it mirrors real-life issues within the tourism industry—such as environmental damage, labor exploitation, and cultural appropriation. This series serves as a cautionary tale, urging audiences to reconsider the impact of their vacations and the ethical implications of staying in spaces designed to shield privileged people from the realities that they play a role in causing. As for me, on February 16th, I’ll be logging into HBO Max and rooming at the Four Seasons Resort Koh Samui in Thailand.
Strike Out,
Writer: Maria Carrillo
Editor: Emily Montarroyos
Graphic Designer: Carly Collins
Tallahassee