The third season of HBO’s The White Lotus premiered with a storyline set in a luxury wellness resort in Thailand, offering television audiences around the world a view of Buddhism through the lens of wealth, spirituality, and privilege. The season’s satirical take on affluent Western tourists seeking awakening in a commodified version of Buddhism has sparked discussions on the portrayal of Buddhism in popular culture as well as the materialistic ways that many people approach the teachings of the Buddha.
Each season of The White Lotus begins with a mystery surrounding a character’s death, and season three follows this format. However, the show’s broader critique lies in its portrayal of Westerners engaging with Buddhism through a consumerist lens, treating spiritual well-being as a purchasable commodity.
The notable exception might be Piper Ratliff (Sarah Catherine Hook), a young woman writing her undergraduate thesis on Buddhism. The show follows multiple American guests, including Piper’s wealthy and insular Ratliff family, led by Parker Posey and Jason Isaacs. Another central figure is Rick (Walton Goggins), accompanied by his younger British girlfriend Chelsea (Aimee Lou Wood). Returning from season one is Belinda (Natasha Rothwell), who now seeks to expand her wellness expertise by studying Thai healing traditions.
Thailand’s Buddhist culture serves as a key backdrop to the season’s themes. Buddhism, which emphasizes non-attachment and inner peace, contrasts sharply with the guests’ pursuit of luxury wellness experiences. This season explores how high-end retreats market an idealized version of Buddhist teachings while stripping them of their deeper philosophical significance.
“[The] Buddha was considered radical for his time because he opposed the caste system and promoted equality,” said Susanne Kerekes, a professor at Trinity College, Connecticut, specializing in Buddhism and religious practices in Thailand. (Vox)
While White Lotus resorts cater to tourists seeking an exclusive and sanitized version of an exotic locale, their presence can disrupt local communities. Thai characters, including Mook (Lalisa Manoban), Gaitok (Tayme Thapthimthong), and Pornchai (Dom Hetrakul), embody this tension as they navigate interactions with the privileged guests. A recurring concept this season is the teaching of Buddhism’s three poisons, greed, hatred, and delusion.
“They are basically what keep you here in samsara,” Prof. Kerekes explained. “And they are, ultimately, what you are working on when you meditate.” (Vox)
Timothy Ratliff and his family symbolize greed, their lives revolving around wealth accumulation. Rick exhibits bitterness and resentment, hinting at a vendetta. Meanwhile, Jaclyn Lemon and her friends struggle with self-delusion, resisting the realities of aging and changing social dynamics.
The concept of karma also plays a central role in the season. Karma, which means “action” in Sanskrit, is often misinterpreted as a direct system of retribution. In Buddhist thought, it refers to the impact of one’s intentions and actions over time.
Vox senior correspondent Alex Abad-Santos describes a notable karmic arc involving Belinda, whose return suggests a shift in fortune. Having been manipulated and discarded by a wealthy guest in season one, she now gains the opportunity to learn from Thailand’s religious traditions. In contrast, Greg (Jon Gries) reappears under a new alias, raising questions about whether his past misdeeds—including his role in Tanya McQuoid’s (Jennifer Coolidge) death—will catch up with him.
The White Lotus consistently portrays extreme wealth as a buffer against meaningful consequences. While Buddhist philosophy suggests karmic justice, The White Lotus presents a world where the rich evade true reckoning.
As viewers watch and discuss the TV show, they will benefit from developing a critical eye toward the way that Westerners approach Buddhism, both as objects of personal appreciation and topics for popular culture. As Eve Mullen, associate professor of religion at Emory University writes in Buddhism and American Cinema (SUNY Press 2014), the media can portray Buddhism in an orientalist way, notable for “exaggerations, made purposefully or not, of Asian traditions and culture, exaggerations that can be patronizing and damaging to the studied peoples.” (Mullen 41)
The season’s narrative highlights the contradictions of Westerners seeking personal transformation through expensive retreats. The hypocrisy of The White Lotus guests reflects a broader issue within the global wellness industry, where spiritual traditions are often commercialized for profit. By placing these themes in Thailand—a country where Buddhism is the religion of 94.5 per cent of the people—the show sharpens its critique of wealth-driven spirituality. In the end, viewers may see the guests at the White Lotus resort as taking early steps on a journey toward awakening, or as beings trapped in their own cycles of excess and delusion.
References
Mullen, Eve. 2014. “Buddhism, Children, and the Childlike in American Buddhist Films,” in Buddhism and American Cinema. John Whalen-Bridge and Gary Storhoff, eds. New York: SUNY Press.
See more
White Lotus and the three poisons (Vox)
The White Lotus Season 3, Episode 1 Recap: Welcome to Thailand (W Magazine)
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