As the finale of the third season of "The White Lotus" approaches, UC Berkeley associate professor Poulomi Saha offers a closer examination of the series' complex themes. Saha, a specialist in post-colonialism, cultural, and psychoanalytic studies, highlights the show's unique portrayal of race and gender dynamics.

In season three, set in Thailand, an expat named Frank, played by Sam Rockwell, provides a critical moment in the series. Describing his journey into sobriety, he expresses a form of enlightenment about his desires, explaining to his friend Rick that it's not about exploitation but rather a desire to embody those he once pursued.

"What appears to be a very straightforward form of white male domination of the Asian woman’s body gets turned on its head,” notes Saha. "It's a brilliant way to think about the cost of unending pleasure being accessible to you — it changes you."

The setting in Thailand further serves as a lens to explore Western fantasies, often turning to Asia as a perceived haven of spiritual and physical indulgence. "The question of Asia as a kind of playground for American and Western pleasures is really coming to the fore," Saha observes.

The show portrays the intricate interactions between the resort staff and the vacationers, shedding light on both the visible and unseen efforts of providing constant pleasure to affluent guests. "There’s this sense that Asia is a font of a particular kind of spirituality that is open to the consumption of especially wealthy white Americans," Saha says.

Saha also links the series' themes to historical narratives, particularly America's historical interactions with Southeast Asia during various wars. This backdrop enriches the narrative of expatriates in the region, who, due to economic privileges, reinforce the tourism industry that attracts other Americans.

The character of Frank and his introspective monologue are pivotal. "It's a shockingly self-aware articulation of how desire works through the American body in Asia," Saha comments on Rockwell's performance.

Freudian themes, particularly oedipal conflicts, are also prominent this season. Saha remarks on the season's exploration of "oedipal triangles and uncomfortable forms of familial desire" as essential components driving the narrative.

The series cautiously navigates familial dynamics, as the Ratliff family's internal struggles unfold. Saha discusses Timothy, the father, who contemplates life choices amid financial trials, finding solace in dialogue with a Buddhist monk.

Saha reflects on Eastern spirituality's allure to those disillusioned with Western ideals. "You can ask a different kind of question," Saha states, remarking on the appeal of addressing existential inquiries through a different cultural lens.

As the season finale looms, Saha anticipates possible plot twists, suggesting, "I think the monkeys did it," hypothesizing about the outcome of the season's intrigue.

The mixture of psychological exploration and social commentary in "The White Lotus" positions it as one of the more nuanced series yet, enriching the conversation on how media can challenge and reflect persistent societal themes.