Armond is a reasonably well-paid hotel manager. We are not shown anything particularly “terrible”. Some people do get burnt out working in hospitality, as in any job, but none of that makes him justified in picking a fight with one of the guests or shifts the blame onto said guest when all of his complaints are…

Presumably his family wanted it brought home, I guess?

Literally all he had to do was acknowledge that they had accidentally double-booked the room and refund the difference in prices.  Shane is in fact entitled to complain about being lied to and ripped off, no matter how much of a rich asshole he is otherwise.  Armond is responsible for all of that, and was also the one…

Olivia and Paula’s relationship is one of the elements of the show I have the hardest time getting a read on. Particularly in the early episodes there seemed to be a sexual undercurrent to how Olivia interacts with Paula, but that doesn’t go anywhere in the later episodes, which makes it all more about class power…

In a reversal of the Mossbacher children’s alliances, Olivia chastises Paula for the heist scheme and aligns herself with her parents (I guess Olivia is a lot more like father Mark than she though, and redistributing the wealth was only an acceptable ideology for Olivia when it didn’t affect her wealth!)

Not true. We also have Dr. Fieldstone’s involvement (very obviously a story thread relating to Ted) and the return of Jamie. Both of these being things the Christmas episode consciously pivoted around.

They haven’t been wheel-spinning. They’ve been setting up story threads.

I find the club’s performance a bit confusing, because they ended the previous season by almost fighting Manchester to a draw, but now they’re apparently really struggling in what should be less challenging competition and with Jamie back?

Phoebe’s offscreen parents sure do get to outsource a lot of their work to her uncle and his girlfriend.

Waddingham in Spamalot:

I’m not talking about the beginning, I’m talking about the end, where the Resistance is trapped and about to be destroyed by the First Order’s cannons.  Finn mounts a kamikaze run to destroy the cannon, and Rose stops him and gives the “saving what we love” line.  But the Resistance has no alternative to destroying…

But I think the point The White Lotus is trying to make is that these employees, Belinda and Armond both, are beaten down by the day-in, day-out frustrations of dealing with guests who mostly don’t care about them at all. That’s why Armond rises to Shane’s bait

It was never promised as an anthology series.

CBC’s coverage is excellent. Not sure what there is to complain about.

The entire arc bent away from Star Wars’ old good-vs.-evil narrative and even dared to call that narrative into question. 

The only issue I have with Dr. Fieldstone so far is that she’s not even a little bit funny, which always feels a bit out of place in a comedy.

(an odd move, considering Emma Corrin could’ve realistically played Diana up until the show gets to her death)

I mean, it is literally the good kind of colonizer coming to the lands and to be revealed as the blue eyed white kid to lead them all to salvation.

I have been slowly making my way through Christopher Isherwood’s The Berlin Stories (the source material for Cabaret). I’ve just gotten to the chapter that features Sally Bowles.

I know that this is a meant to be a satire and all, but some of the basic components of this just ring false to me.