Mike White's Bold Vision for "The White Lotus"
Mike White is much more than just the creative mind behind The White Lotus. He’s not only the writer but also the creator, director, and executive producer. It’s almost astonishing that he’s not responsible for the catering as well. His extensive control over the series starkly contrasts with productions like Marvel films, which seem to be handled by multiple committees from writing to marketing.
With this unique control, White has crafted what could be considered the first remarkable piece of art in the post-‘woke’ era. His characters are individuals, not mere representatives of their identity groups, and he incorporates plot twists that might unsettle a sensitivity reader.
The White Lotus challenges the “peak woke” era of the late 2010s—a time that produced safe and often preachy art, focused excessively on identity and language with simplistic moral lessons. Instead, White explores untouched taboos such as kink, scatology, marrying for money, and frequent male nudity set against glamorous hotel or yacht scenes. If you’ve followed the latest season in Thailand, you’ll have noticed Saxon and Lochlan Ratliff’s scandalous scene.
Interestingly, it wasn’t this explicit scene that stirred up conversation among friends. Instead, it was a four-minute speech by a minor character, Frank (played by Sam Rockwell), in Episode 5. It delved into a controversial sexology finding: certain men find arousal in envisioning themselves as women.
Frank, in a Bangkok bar, relates to Rick (Walton Goggins) that moving to Thailand was in part due to his interest in Asian women, which evolved into something deeper. He shares an exhilarating breakdown of self-discovery involving lingerie, paid encounters, and an eventual turn to Buddhism as he questions his own identity—and leaves his harmful habits behind for spiritual healing.
Reactions to this scene varied, with Ray Blanchard, the sexology researcher who coined autogynephilia, praising it despite its controversy within LGBTQ discussions. The portrayal suggests that cross-dressing might have a sexual element, a provocative idea that challenges modern taboos in the same way Star Trek broke ground with its interracial kiss.
Labeling Mike White as “anti-woke” might misrepresent him as dull and contentious, whereas he’s actually spirited and morally introspective. His personal history, including a father who ghostwrote for anti-gay evangelicals before coming out himself, offers insight into his nuanced perspective.
Mike White’s political views shifted from typical left-wing ideologies, influenced by thinkers like Judith Butler and Camille Paglia—figures who have critiqued feminist and politically correct movements. In the first season, nods to these ideas are evident through characters like Olivia, reflecting on the contradictions and pretensions of contemporary society.
The most recent season featured a sinister group of gay men, much to the discomfort of cultural critics who favor positive portrayals of marginalized groups. Yet, audiences welcomed the portrayal, appreciating the range of human emotions it brought to LGBTQ characters.
A conversation with Andrew Sullivan highlighted White’s commitment to diverse LGBTQ narratives, celebrating the shift from clichéd portrayals to more complex, raw characters. White’s portrayal of gay characters, whether through audacious plotlines or earnest character development, continues to engage and provoke.
The White Lotus stands as both a product of a changing cultural landscape and a reflection of White’s belief that an exclusive focus on identity can be limiting rather than liberating. Instead of cliché-ridden morality tales, he creates vibrant human stories drawn from his own life experiences.
His shows are inherently fun—chaotic, messy, and profoundly human. Through narratives reminiscent of 18th-century licentious novels, he crafts a world where the rich wreak havoc amidst luxury, subtly underscoring the emptiness beneath the glitz. After an era filled with didactic storytelling, the indulgent chaos of White’s universe is both refreshing and liberating.