Jan 17, 2023·edited Jan 17, 2023

Just listened to this today 1/17/23, and loved it. Really like that Rob and Richard listen to each other, and consider each other's comments, i.e. "I hadn't thought about that, that makes sense."

Elsewhere, it was mentioned that the show title 'White Lotus' was a double-entendre concerning White people and the flower (easily damaged, and a hallucinogen). Mike White's father came out as gay, well into adulthood, and Mike White claims to be bisexual. So the plot distraction for the straight beta male (Mark) as possibly into 'experimenting' with resort manager (Armand), appears to be included to "give permission" to the curious to give it a try. The butch father who died of AIDS ("it was a different time and he lived two lives") is included so that 'anybody might be gay if they give it a try.'

btw, the Hawaiian resort kid, Kai, was a big buff object of fantasy for the girls Olivia and Paula. He could be whatever they wanted him to be, kind of like a cocktail waitress or airline attendant. He was always a low IQ buffed out torch runner, with no moral center. He stole a $75K bracelet because it was in him to be a thief, just like it might be in Mark to be gay, or Rachel to be lazy untalented arm candy, or Lani to be 9 months pregnant and lie to get a job, or Paula to be an entitled minority scholarship student admitted just to boost her Ivy League school's numbers. Nobody thinks she got in on merit. Nobody thinks Olivia got in on anything other than her mother's fame-and-status.

Writer/Director Mike White also wrote 'School of Rock' and there is a gay kid (under 12) character. He wrote 'Brad's Status' which includes a wealthy, generous, happy character who is in a 'throuple' and explains that the three parties are 'sort of fluid'. Like it is his obligation to introduce strange orientations to his stories, so that "white privilege" can get 'diversified' instead of choking on its homogeneity.

As for the observation (which I agree with!) on the 'junk' display of Mark, in the beginning, and the #2 delivery by Armand in the suitcase at the end, the show is on HBO Max. HBO shows like this (and The Wire, Sopranos, etc.) seem to all have Schedule I drug use, explicit sex, and lots of homosex. Otherwise, they could be on broadcast network TV.

Lastly, I watched the show because I wanted to listen to your podcast about it, and understand what you were talking about. Thank you!

Expand full comment

Would be interested in zoom

Expand full comment

People make it their life's work to make little monsters who hate whites then are terrified when the little monsters notice the Prof is White.

Now that we can "humanize" the elite white males so suddenly besieged by their own creations, could we spend a little time humanizing the non-elite whites?Who by necessity and usually their decent human inclinations live far less apartheid, far more diverse, and don't treat the non-whites as either servants or holy objects to be worshipped -from a safe distance and surrounded by police of course.

Expand full comment

From Sullivan "But if this is empirically true, critical theory, which insists that absolutely nothing but white supremacist society leads to inequalities, is dead in the water. Refuted. Proven false by reality. Finished — even as it continues to be the premise of other countless pieces The New Yorker has run in the past few years. At some point, this will require a measure of rethinking, a moderation of the left’s absolutist blank-slatism just as the evidence is finally disproving it once and for all. The Successor Ideology, remember, holds that genetics play no role in human society, and that all inequalities are a function of the environment. Take that absolute claim away — which is to say to subject it to empirical testing — and it crumbles. And The New Yorker just took it away."

Well, then the little Commissars will shortly enough morph into Gruppenfurhers [NAZIS].

Politics is power, just power, not truth.

Expand full comment