HBO’s The White Lotus has just broken one of television’s most famously taboo subjects – incest. The satire of Western tourism sparked widespread online debate with its portrayal of an incestuous threesome, inviting viewers, critics, and even those who’ve only heard about it through hearsay to question the use of shock value in TV, and when it goes too far.
In the sixth episode of The White Lotus, older brother Saxon Ratliff (Patrick Schwarzenegger) regains consciousness next to his nude younger brother Lochlan (Sam Nivola), disgruntled, hungover, and trying to piece together the events of the night before – one that involved drugs, drinking, and being pleasured by his own brother. While it certainly delivers a jolt to the system upon watching, is it really surprising in a show that thrives on provocation?
Season 2 of the sharp-witted satire saw Leo Woodall’s Jack being caught mid-coitus with his “uncle”, who was later revealed not to be a blood relation at all. Although not technically incest, The White Lotus has consistently pushed the boundaries of taboo subjects and graphic nudity across its Emmy-winning seasons. In this context, the incest storyline doesn’t seem entirely out of place. So, why are those who’ve only heard about the scene so shocked, while long-time viewers continue watching relatively unbothered? And what does that reveal about how we consume and process taboo content?
Scenes of sexual transgression are no strangers to our screens. Game of Thrones, in particular, portrayed incest from its very first episode. Such controversial content soon became a staple of the fantasy series, perhaps making it feel less jarring than its counterpart in The White Lotus – largely because of the element of fantasy. Comparatively, The White Lotus is set in contemporary reality, amidst references to Trump’s presidency and American decline. In that context, a brother pleasuring his brother becomes far more uncomfortable than it would in a world where dragons are as common as the Thai monkeys appearing in every episode of Mike White’s series.
White himself has responded to the backlash, insisting that the incest plotline serves a narrative purpose beyond mere shock value. This seems plausible, as the Ratliff family dynamic continuously exposes the dysfunction of the American elite, reinforcing toxic masculinity and illustrating life within the so-called “manosphere”. Saxon’s interaction with his younger brother doesn’t simply cross boundaries of appropriateness – it offers insight into a broader crisis among aggressively heterosexual men who, in this “anti-woke” era, seem increasingly disinterested in women. It also suggests that the ultra-wealthy are more inclined to transgress societal boundaries to maintain their status, rather than “lower” themselves to associate with those of lesser means.
It’s a complicated matter to discuss when – or if – taboo subjects are appropriate. However, what’s important to consider when watching shows like The White Lotus, and discussing their content, is context. The show blends social critique with the exploration of transgression. It does not appear to condone or promote incest, but instead, while dissecting the lives of the privileged elite, exposes how money and power enable moral impunity. The discomfort it provokes is, arguably, the point – forcing viewers to confront their own moral boundaries.
Understandably, there has been backlash to such taboo content appearing on our screens and circulating widely online. People have different thresholds for what they consider acceptable, especially regarding deeply sensitive subjects. For many, any portrayal of incest can feel triggering or repulsive, regardless of narrative framing. This reaction is only amplified by the fact that film and television are powerful tools in shaping cultural discourse. The White Lotus, for some, may be seen as normalising behaviour that should be unequivocally condemned. There is a fine line between art and exploitation – and some viewers feel the show has crossed into the latter, indulging in discomfort for entertainment’s sake, rather than encouraging meaningful discussion.
At the time of writing, the final episode has yet to air. Soon, we’ll see whether Mike White’s assertion that the incest storyline serves a genuine narrative purpose rings true, or whether it ultimately falls flat. Either way, one thing is certain: White, and the cast and crew of The White Lotus, have undeniably made their mark on the television landscape of 2025.
“Three wise monkeys” by Anderson Mancini is licensed under CC BY 2.0.