The acclaimed first season of The White Lotus was a sleek satire about the power dynamics between the 1% and everyone else. It contained a sharp, compelling narrative that was wrapped up in a mere 6 episodes, as well as a colorful cast of characters who all had intriguing, complete arcs. So when the formerly limited series was renewed for a second season, I was curious but also somewhat bewildered. It didn’t need another season, especially if it was going to do more of the same “rich people bad” satire. However, I am delighted to report that The White Lotus: Sicily feels distinct from the first season, with a brand new location and set of characters, while keeping a few integral features that made the freshman season work (namely, the excellent character writing and brilliant cast). 

While the first season’s primary focus was the unequal relationships each character had due to their wealth and class, the second season is more interested in its cast’s sexual dynamics. There is still undoubtedly commentary on wealth, but it takes a bit of a backseat this season. Our two returning characters Tanya (Jennifer Coolidge) and Greg (Jon Gries) are similarly sidelined until the end, which is honestly for the better. The lovebirds from last season are now married and vacationing together. However, Greg’s growing irritation with Tanya’s overbearing nature leads her to suspect an affair. To tell you the truth, this was my least favorite plotline. Coolidge kills it once again, but her material is not entirely compelling until about episode 5. However, with the gift of hindsight, even the least engaging subplot was a well-written commentary on the impacts obliviousness can have on one’s relationships. 

While I was slightly underwhelmed with the hijinks the DiGrasso family got up to in this season, the material they have is still fascinating. F. Murray Abraham’s Bert, Michael Imperioli’s Dominic, and Adam DiMarco’s Albie serve as intriguing foils to one another and demonstrate the generational gap when it comes to relationships with women excellently. Their differing dynamics with local hookers Lucia (Simona Tabasco) and Mia (Beatrice Granno) explore this in a somewhat interesting manner, but it was their similarities that held my attention. I wish more had been done with this examination, but what we have is still fairly compelling. 

Speaking of Lucia and Mia, they are two of the most entertaining characters in this season and serve as a thematically connective tissue of sorts with the rest of the characters. They are so carefree and bubbly that it’s difficult to not root for them the whole time. It’s always a joy whenever they show up onscreen, and their relationships with each member of the main cast (aside from Tanya) manage to be both endlessly watchable and incredibly revealing. The themes of seduction, deception, and desire in relationships are revealed with each interaction they have.

But of course, the crown jewel of this season has to be the storyline of the main four characters we follow: newly rich couple Ethan (Will Sharpe) and Harper (Aubrey Plaza) and the “friends” they’re vacationing with Cameron (Theo James) and Daphne (Meghann Fahy). Cameron and Daphne seem to have it all: comfortably rich for years, overly lovey-dovey, and blissfully ignorant to the world around them. Ethan and Harper, on the other hand, pride themselves on being caring, authentic, and informed. Sure, maybe they’re not as sexually active as Cameron and Daphne, but what they have is better because they’re genuine with each other. Right? As the season goes on, the tensions each character has with one another slowly escalate, and boy, is the payoff worth it. The scenes this group of four have with one another are mesmerizing to behold and enhanced by the best acting of the season. Sharpe surprised me by the end and gave my second favorite performance in the whole show with his subtly dynamic turn as Ethan. Plaza is so natural and believable as Harper, and instills just enough of herself to make the character flourish. James is captivating as the resident douchebag, with just enough charisma that you can’t quite hate him. But Fahy stole the season for me with her nuanced, layered performance. She conveys so much with her facial expressions, which never outright give away the “real Daphne” underneath, but allude to her well enough that the audience can paint their own picture. It’s truly remarkable what Fahy was able to accomplish here, and I’m glad many are taking note. 

The White Lotus: Sicily shines the most when it differentiates itself from its fantastic predecessor. Its heightened focus on the Sicilian locals (including the brilliant Sabrina Impacciatore as resort manager Valentina, who isn’t quite as prominent as last season’s Armond but is a blast nonetheless) and the enthralling sexual dynamics between its ensemble make it a fantastic season of television that continues to stands out amongst the deluge of “rich people bad” satires we’ve been blessed with recently. Its ending goes in an entirely different direction than the first season did despite both starting at the same point, and it is all the better for it. The writing and direction from Mike White is top-notch, and The White Lotus: Sicily is every bit as perfect visually and auditorily as its Hawaiian-based freshman season. While I had my doubts about this season initially, I have learned my lesson: always trust Mike White (and his casting directors).  And thus, the wait for The White Lotus Season 3 begins!

9/10