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The difference between the first season of “The White Lotus” and its episode at the moment in Sicily is, in essence, the difference between summer and autumn. Where Mike White’s initial advent to his fictional chain of luxury hotels sweeps over the audience like a sea breeze in On a Sunny Day, the writer-director’s sequel sports its black satire like a slowly shrinking sweater. Each thread pulled connects with the white privilege that was so skillfully tested in Hawaii, but wisely unwinds into new instructions, infrequently a little slowly, leaving portions loose here and there, but connecting furtive critiques of sex and power as they fear prosperous men and women.
Season 2 is intensely involved in relationships: husbands and wives, in particular, but also young loves and old friendships; inherited attitudes towards the opposite sex and clumsy attempts to establish new norms. With a cast of gameplay that brings to life those intricate dynamics and jaw-dropping perspectives of Palermo posed by their private odysseys, season 2 of “The White Lotus” presents itself as a darker, more non-public story, one that is sure to spark awkward conversations at home, as long as couples aren’t frightened by the cold.
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Not literally, of course. The White Lotus hotel at the end of the boot is filled with beach chairs, personal pools, and lots of bikini-clad bodies baking under the sweltering sun. Like its American sister site, workers greet visitors with choreographed waves and forced smiles as they dock and disembark — only Paloma’s manager doesn’t feign kindness. Unlike the smiling and supportive Armond (Emmy winner Murray Bartlett), Valentina (Sabrina Impacciatore) does not hide her criticism from anyone. He will call an old man across the street “old. “, or taunting a guest in hopes of locating his lost luggage by asking him if he believes in miracles. In addition to her other behavior, Valentina is just as vital as Armond, at least not at first, but that also feels like a conscious and considerate choice. through White to help differentiate Season 2 from its predecessor. What is about to see what she has seen before, and Valentina sets the tone with aplomb.
Fabio Loviño / HBO
Even the only returning character, Emmy winner Jennifer Coolidge as the love interest of half-billionaire Tanya McQuoid, is rarely about to repeat herself. On vacation with her now-husband Greg (Jon Gries), Tanya arrives with her new assistant, Portia (Haley Lu Richardson); he’s bitter about his wife since her Hawaiian romance, and she’s like anyone who is forced to indulge Tanya’s every volatile whim. Then, once again, Tanya feels lonely, worried, and abandoned. But instead of looking for love in all the wrong places, she receives an allowance through a purely platonic local (Tom Hollander) and, until then, stays stable through her young assistant. In five of the seven episodes, the employer-employee relationship is ripe for comedy, but is glossed over too occasionally. While it’s all too simple to use Portia as a stand-in for season 1’s Belinda (Natasha Rothwell) (another user Tanya relies on for emotional help and bait, as well as tons of money), there are more banter to be drawn between Richardson. and Coolidge. that “The White Lotus” takes time, even if her solo arcs work great on their own.
Joining them at the station is a formidable (and handsome) trio of Italian Americans. Bert Di Grasso (F. Murray Abraham) is a recent widower hoping to make a stopover in the small town where his mother was born, along with their adult son, Dominic (Michael Imperioli), and their college-educated grandson, Albie ( Adam DiMarco). But as Bert is quick to point out, this “boys trip” was not intended as such. Dominic’s 25-year marriage is almost over after his unspecified infidelity was recently discovered. However, as a moody money man unaccustomed to things that don’t happen to him, Dominic alternates between feigning normalcy, courting his son’s favor (in the hope that Albie will say a smart word to his mother), and drown their sorrows, not only. Despite a father who set a less than shining example and a grandfather who flirts with each and every woguy he sees, Albie is a “nice guy. ” He is kind, caring and supportive. He recognizes the privilege afforded by his family’s funds, and when he meets Portia, relatively petite and penniless, he is aware of the strength inherent in her position as a burly young man with a respectable father. (Dominic, who will pay for the entire trip, is a well-to-do “Hollywood kid”).
Albie and Portia’s sensitive attempts at a Christmas adventure offer a wonderful embarrassing comedy, though their conversations are nothing compared to the quartet of the crown jewels in season 2, directed by Harper of Aubrey Plaza. On a festive getaway with her husband, Ethan (Will Sharpe), who just sold his business for billions, the couple considers themselves elegant citizens of the world, and their relationship is not only healthy, but also superior. They know each other’s private inclinations, percentage preference for helping others with their good fortune, and tell each other the truth. All that stands between them and a satisfied week are Cameron (Theo James) and Daphne (Meghann Fahy). Ethan and Cameron were roommates at school and stuck together despite the latter’s high-level life in finances. Now that Ethan has made his own big pile, the two can spend even more time together. . . a lot for Harper. disgust.
Courtesy of HBO
There are similarities between Harper and Rachel from season 1, the bride played Alexandra Daddario, but Plaza’s character turns out to be different. Both are, first of all, naïve about how wealth can alter people’s lives and therefore their relationships, and as a result, revel in an impolite awakening. But Harper, like the screen he directs, sees the stage in each and every detail. One of James’ most productive lines rejects the act of voting with a “it doesn’t matter”: Harper fears he’s looking for his future. Right now, he lightly endures discussions of nothing with Cameron and his likely idiot wife. (Fahy is excellent. ) But as his bland adventure continues to throw many curves at him, a lingering anxiety only grows: Is this what money does to people?Check that: is this what money does to men?
If there’s one undeniable thesis in season 2 of “The White Lotus,” it would be courtesy of an aspiring singer named Mia (Beatrice Grannò), as she sits on the bench with her friend, Lucia (Simona Tabasco). She has been hired through one of White Lotus’ consumers, and while searching for her consumer among incoming guests, Mia needs to exclude anyone who has a wife. Lucia checks it temporarily: “It wouldn’t be the first half,” she says, to which Mia gasps and recites the central principle of the program: “The men are so disappointing. “
Using the story of Sicily as a backdrop, Season 2 examines the culturally dominant machismo that drives men (cisgfinisher, straight) to do, well, everything. Competition fuels some successes, but it can also destroy your emotional states. Attraction can lead them to the woman of their dreams, but it can also inspire them to cheat. White’s skillful scripts don’t rule out guilt but spread it over time, between families and generations. Instead of treating the disorders of patriarchy as a series of revelations, he investigates the elements of sexual politics that help sustain men, and he does so through very spicy and intelligent conflicts. , yes, it ends in homicide again). The performances of Plaza, James, Impacciatore and especially Fahy make a contribution to compensate for less laughter by bringing precision and fondness to their respective parts.
“The White Lotus” may not feel as soft as last summer’s wonder, but it does rest on its laurels. Despite what prestigious resorts claim, convenience isn’t everything. Some things need to be shaken.
Season 2 of “The White Lotus” will air Sunday, October 30 at nine p. m. m. Y by HBO.
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