The White Lotus: Greg ought to be the third body bag guest

• The White Lotus was foreshadowed by Mike White,
• It was nevertheless startling and upsetting.
• White said that he’s not sure whether that character will return for next season.

The White Lotus was foreshadowed by Mike White, it was nevertheless startling and upsetting. She could have been the protagonist we follow through stunning resorts as the wealthy learn to deal with their affluence and offer humorous lines. Greg is the final recurrent character in the series as White, like he frequently does, presents a grim reality (Jon Gries).

Due to their prenuptial agreement, Tanya’s now-widowed husband had to leave Sicily early. It seems that he had ties to Quentin (Tom Hollander), the man who planned Tanya’s demise in order to obtain her money in order to keep his palazzo. Could that happen again given that the series has already lost one recurrent character? It would make too much sense for Greg to depart a future White Lotus resort in a body bag, however, White indicated in an interview that he hasn’t decided if another character will return. White said that he’s not sure whether that character will return for next season.

White claimed that Tanya’s remark that “death is the only immersive experience I haven’t explored” was a factor in his decision to murder her. Tanya also spent the season dealing with the death of a person who, in her own words, “mentally abused” her and tried to let go of her mother’s ashes. She initially tries to give Belinda (Natasha Rothwell) that money for her dream health center, but she later decides to back out in order to prevent developing a “transactional relationship” in which she exploits her money to exploit others. That turns out to be an amusing decision because Tanya not only marries Greg, who uses her money to survive cancer and live extravagantly, but also employs Portia (Haley Lu Richardson), a lousy secretary, and gives her little to do. Greg initially just wants to have fun and have sex with Tanya before he passes away.

He confuses the rooms and only accidentally encounters Tanya. Tanya still meets Greg at the pub later that night even though Greg promises to text her back but never does. Before Greg finally leaves her, she sobs and begs him to leave her hotel room, but he stays because he “truly wants to fuck” Tanya. To have sex, not to comfort her emotionally or learn more about her mother. Tanya gives in, too. Later, she decides to develop a connection with a man who has been through three divorces and whose cancer treatments she has paid for.

Tanya’s poor choice to spend her money on a man who wasn’t ever as interested in her as she was in him is highlighted by this. She continues to ignore indications that Greg doesn’t care about her beyond momentary pleasures.

Tanya is partially correct; Greg does become weary of her. He’s angry and makes practically every discussion feel like work. Tanya complained about driving the Vespa and feeling awkward having sex while traveling to Sicily with her helper.

Gries seemed to be a little bit slimy in the first season, but in these situations, he lets it all out. Tanya is indeed a lot, but Greg is incredibly unappreciative of the girl who saved his life. His financial future appears to be more important to him than his romantic relationship. Greg made a huge deal out of the prenup because he claimed Tanya’s money would leave him penniless. Greg mentions it over their final supper, which is a conversation that is quite revealing. Tanya cites Greg’s “insistence” that they travel to Sicily. Greg claims that he didn’t want this—a reference to his profession that may also be made to their relationship—and that their prenup prevents him from being able to “afford to resign.”

He claims that Tanya is exclusively too responsible for this, accusing her of “discarding” individuals because she frequently changes her opinion without considering the consequences. That kind of insulting rhetoric betrays a great deal of contempt for someone who has invested her money in preserving his life.

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