Ep. 4: “Hide or Seek” with Jason Isaacs and Sarah Catherine Hook

Summary

The White Lotus Official Podcast – Episode 4: “Hide or Seek”

Introduction

In Episode 4 of The White Lotus Official Podcast, hosts Jia Tolentino and Josh Berman delve deep into the intricacies of The White Lotus Season 3, titled “Hide or Seek.” This episode features insightful conversations with cast members Jason Isaacs and Sarah Catherine Hook, who portray Timothy Ratliff and Piper Ratliff, respectively. Produced by Campside Media in collaboration with HBO, the podcast offers an exclusive behind-the-scenes look, dissecting character developments, thematic elements, and pivotal moments from the episode.

Recap of Episode 4: “Hide or Seek”

“Hide or Seek” is a pivotal episode that intensifies the ongoing narrative of the Ratliff family’s vacation at the White Lotus resort. Key plot points include:

• Jacqueline and Harrison's Turmoil: The episode opens with Jacqueline sensing underlying tensions in her relationship with her younger husband, Harrison. Their unlikely pairing and Harrison's behavior suggest deeper issues, including potential infidelity and age disparity.

  Gia Tolentino (00:38): “I feel trapped, Piper. On a boat. I don't want to be on with a bunch of people. I don't want to talk to you.”

• The White Lotus and Alternative Resorts: Dissatisfied with the current resort's lack of vibrancy, the Ratliffs are sent to another property, only to find it populated primarily by retirees. This shift highlights themes of aging and mortality.

  Jason Isaacs (04:35): “By the way, also, the way the show kind of like lingers and then slowly reveals in every direction. It's all full of these old people. It is both funny and then sort of tragic for the characters because you realize that this is... they’re in some kind of purgatory.”

• Boat Scene and Timothy’s Decline: A significant portion of the episode unfolds on a boat where Timothy grapples with losing his prescription pills and the impending loss of his wealth. The introduction of a recurring Chekhov’s gun—a gun left by a security guard—foreshadows potential self-destructive actions by Timothy.

  Josh Berman (24:20): “He gets on her Instagram, he sees... the gun sitting at the security station. So what do you think is going on there? What do you think Tim's intention is with the gun?”

• Sibling Dynamics: The Ratliff siblings, Saxon and Lachlan, navigate their relationships under stress. Saxon’s attempts to bond with women and support his brother Lachlan reveal vulnerabilities beneath his confident exterior.

  Gia Tolentino (18:36): “He's got a soft spot, so to speak, for that person.”

Character Analysis

Timothy Ratliff (Jason Isaacs)

Jason Isaacs embodies Timothy as a man on the brink, balancing immense wealth with deep-seated insecurities. Timothy’s struggle with lorazepam addiction and financial ruin paints a portrait of a man who is both powerful and profoundly vulnerable.

Josh Berman (29:59): “This was as close as I ever want to get to my world falling apart and being broke.”

Timothy’s character arc explores themes of identity, power, and the fear of losing everything he has built. His interactions, especially the confrontation with his wife Chelsea on the boat, reveal his deteriorating state and the lengths he might go to preserve his legacy.

Gia Tolentino (11:25): “They are being reminded of their mortality. Like, no matter what you guys do... you're going to wind up at this pensioner's pool eventually.”

Piper Ratliff (Sarah Catherine Hook)

Sarah Catherine Hook portrays Piper as the middle child caught between her dominant father and siblings. Piper’s journey is one of self-discovery, balancing familial expectations with personal desires.

Sarah Catherine Hook (43:07): “I definitely got very loud and I kind of overtook... the spotlight with my real life brothers.”

Piper’s character embodies the search for identity outside the rigid confines of her family's values, showcasing the complexities of growing up in a privileged yet emotionally distant environment.

Themes and Symbolism

Mortality and Aging

The contrasting depictions of the main resort and the alternative one filled with retirees serve as a metaphor for the characters’ fears of aging and irrelevance. The persistent presence of older adults reminds both the characters and the audience of the inevitability of aging.

Gia Tolentino (04:54): “It's like supervisors in some kind of purgatory.”

Materialism and Identity

The Ratliffs’ preoccupation with wealth and status is a central theme. Timothy’s desperate attempts to hide his financial troubles underscore the destructive nature of materialism and its impact on personal identity.

Josh Berman (16:36): “He is a Darwinist in finance. What you can do, you should do.”

Secrets and Self-Destruction

Timothy’s hidden pill addiction and his eventual theft of the gun symbolize the destructive power of secrets and the lengths individuals will go to protect their facades.

Gia Tolentino (25:20): “He takes it like he immediately beforehand says, I would rather die than go to prison.”

Guest Insights

Jason Isaacs on Playing Timothy

Isaacs discusses the depth of portraying Timothy, emphasizing the character’s internal conflict and the inevitable downfall. He draws parallels between Timothy’s unraveling and themes of identity and self-destruction.

Jason Isaacs (14:18): “It's a purposeful look behind the curtain... like, here's the real. This is really what happens when you go on vacation.”

Isaacs highlights the meticulous crafting of Timothy’s persona, balancing power with vulnerability, and how Mike White’s writing demands truthful and emotional performances.

Sarah Catherine Hook on Playing Piper

Hook relates Piper’s character to her own experiences as a middle child in a family, exploring themes of shyness, rebellion, and the quest for authentic self-expression. She delves into Piper’s motivations for seeking Buddhism and spiritual solace as a means to escape her chaotic family dynamics.

Sarah Catherine Hook (43:32): “For her, she's probably like a goal-oriented person where like her whole high school career was about getting into the right college.”

Hook emphasizes Piper’s desire for genuine connection and her struggle to define herself beyond her family’s expectations.

Insights and Conclusions

Episode 4, “Hide or Seek,” serves as a critical juncture in The White Lotus narrative, unveiling the characters’ deepest fears and vulnerabilities. The podcast hosts skillfully dissect the episode’s nuances, highlighting the interplay between personal identity and external pressures. Through the perspectives of Isaacs and Hook, listeners gain a profound understanding of the characters’ motivations and the overarching themes that drive the series.

Notably, the recurring motif of the Chekhov’s gun and the exploration of self-destructive tendencies underscore the intricate storytelling and character development that The White Lotus is renowned for. The episode masterfully juxtaposes humor with tragedy, presenting a satirical yet poignant commentary on privilege, mortality, and the human condition.

Gia Tolentino (26:10): “It's sort of like you get out of that context and maybe you've had some kind of unnamed discontentment...”

As the series progresses, the tensions escalated in “Hide or Seek” set the stage for future confrontations and revelations, promising an engaging continuation of the Ratliff family’s tumultuous journey.

Conclusion

Episode 4 of The White Lotus Official Podcast offers an in-depth exploration of “Hide or Seek,” enriching the viewer’s understanding of the series’ complex characters and themes. Through expert analysis and candid conversations with the cast, the podcast provides a comprehensive and engaging summary that not only recaps the episode but also invites listeners to ponder the deeper implications of the narrative.

Notable Quotes

• Gia Tolentino (04:35): “Jacqueline... suddenly she has this thought, like, did he send us here because he thinks we're old? And she freaks out.”

• Jason Isaacs (16:36): “He is a Darwinist in finance. What you can do, you should do.”

• Sarah Catherine Hook (43:07): “I definitely got very loud and I kind of overtook... the spotlight with my real life brothers.”

Recommendations

For fans and newcomers alike, tuning into The White Lotus Official Podcast provides a richer, more nuanced appreciation of the series. Episode 4 exemplifies the podcast’s ability to dissect and discuss complex narratives, making it an invaluable companion to the show.

Next Steps

Listeners are encouraged to continue following the podcast for subsequent episodes, which will further unravel the layers of The White Lotus Season 3, offering exclusive insights and engaging discussions with the cast and crew.

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This summary was crafted based on the transcript from Episode 4: “Hide or Seek” of The White Lotus Official Podcast, released on March 10, 2025.

Transcript

[Gia Tolentino]

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[Josh Berman]

Then maybe you didn't bring them. You're always losing things.

[Gia Tolentino]

They were in my purse. My whole prescription is gone.

[Sarah Catherine Hook]

Mom, you don't need that stuff.

[Gia Tolentino]

I feel trapped, Piper. On a boat. I don't want to be on with a bunch of people. I don't want to talk to you.

[Sarah Catherine Hook]

Oh, come on. Don't be so judgmental.

[Gia Tolentino]

Look, you're thinking the same thing. You're just as judgmental as I am about what we're saying, Carling. And don't you dare judge me. I am your mother. Hello, and welcome to the White Lotus Official Podcast companion to season three. I'm Gia Tolentino.

[Jason Isaacs]

And I'm Josh Berman.

[Gia Tolentino]

And we saw Dick. We saw Dick in episode four.

[Jason Isaacs]

We did. We did. Finally, at last.

[Gia Tolentino]

Well, it's in keeping with the tradition where we saw Daddy's balls.

[Jason Isaacs]

In season one, you'll get a real close up of Daddy's and gorge balls. And then in season two, we see.

[Gia Tolentino]

Theo James, if I'm recalling correctly, prosthetic.

[Jason Isaacs]

Dick in here, and his Dirk Diggler prosthesis.

[Gia Tolentino]

Yeah.

[Jason Isaacs]

And then everybody screamed in the room.

[Gia Tolentino]

Yeah, yeah. Including both rooms. Like the fictional room.

[Jason Isaacs]

Yeah, Right, right.

[Gia Tolentino]

The children also screamed.

[Jason Isaacs]

That's right. In the screen room. And in the. And the viewership.

[Gia Tolentino]

Yeah.

[Jason Isaacs]

They got a rise out of us.

[Gia Tolentino]

Yes. And, you know, I mean, the reason that we saw Dick is because Timothy has been taking too much lorazepam.

[Jason Isaacs]

Right, right. Well, first of all, we should just note very spicy episode.

[Gia Tolentino]

Spicy episode.

[Jason Isaacs]

This thing is kicking the gear here.

[Gia Tolentino]

And later in this episode, we'll be talking to Jason Isaacs and Sarah Catherine Hook, who played Tim in Piper Ratliff. This episode is called Hide or Seek, and written and directed, like all of them, by Mike White.

[Jason Isaacs]

So the first thing we see is Jacqueline, and we get the first hint of trouble in paradise back home with Harrison, her younger man.

[Gia Tolentino]

Well, kind of the second hint. Right. Because the lady were already saying, like, I don't think they even see each other. Oh, right, right, right.

[Jason Isaacs]

They were intuiting that there might be Something going on.

[Gia Tolentino]

And it's kind of an unlikely pairing, which maybe is attributable to the fact that he's 10 years younger. We know he's on set all the time. We know he's super hot. And our minds go where Jacquelyn's mind is going, which is he's. He's fucking.

[Jason Isaacs]

He's bunny rabbiting with some other somebody on set.

[Gia Tolentino]

Yes. And then the girlies age becomes kind of like they've come into the White Lotus being like, this is our victory tour. We're hot, we are rich, we're beautiful, all this stuff. And then they spend a lot of this episode kind of feeling like they're not at the center of anything, like they're not valuable.

[Jason Isaacs]

Those three in particular are suddenly going through some kind of Greek mythical series of trials and tribulations. Micah's decided to put them through the wringer in this episode.

[Gia Tolentino]

I love the hotel, but it's a little dead. Do you know what I'm saying? Is there some place around here, another place a little more fun, has more of a vibe?

[Jason Isaacs]

They get sent to this other resort, and then they get there and they just see it's all full of old people.

[Gia Tolentino]

It's like a lot of retirees.

[Jason Isaacs]

Yeah, it's like retirees. Like, the first people they talk to are these women on some kind of group tour of widows. Basically.

[Gia Tolentino]

Yeah. Who can't, you know, who want to go to the White Lotus, but can't. And Jacqueline is looking around at loose skin, which she has not seen in years as a denizen of la, which.

[Jason Isaacs]

Is her worst fear.

[Gia Tolentino]

Yeah, she's looking around at her worst fear made real. And it's like Jacqueline, who, you know, everyone's been telling her for years and years and years, like, you look unbelievable. You know, you're how old? Like, you look like you're in your 30s still. You know, all of these things. Suddenly she has this thought, like, did he send us here because he thinks we're old? And she freaks out.

[Jason Isaacs]

By the way, also, the way the show kind of like lingers and then slowly reveals in every direction. It's all full of these old people. Is both funny and then sort of. And then tragic for the characters because you realize that this is. They're in some. It's almost like they're in some kind of purgatory.

[Gia Tolentino]

Right.

[Jason Isaacs]

Or they're also in the theme of, like, life, death, spiritualism. Like, the death part. Like, this is they're being reminded of their mortality. Like it's coming for you. Like, no matter what you guys do, no matter how many victory tours you guys do, you're going to wind up at this pensioner's pool eventually, and your husbands are gonna die. You're gonna be, like, one of these two ladies that you are disgusted by, basically because of what happened to them.

[Gia Tolentino]

Right. And there's this way in which when the camera starts panning around, the camera is operating as if it's Jacquelyn's eyes, and it becomes kind of this horror.

[Jason Isaacs]

And the horror is just getting old.

[Gia Tolentino]

Or just like actual life when you're not within this extremely rarefied of the.

[Jason Isaacs]

White Lotus and the world that you live in. The White Lotus back home as well.

[Gia Tolentino]

Yeah. And you kind of are implicated as the viewer, you know, in the fact that by your own. I'll just say by my own enjoyment of the show, it is also implicitly my enjoyment of being in a space where I can only look at beautiful, rich. You know, it's like, it's. The whiteness part is built into this. It's like the show is a critique of it, but it also is giving us this setting that can shut out, you know, anything that resembles real life.

[Jason Isaacs]

Right, Right. And I think it's kind of meant as. It's like a purposeful look behind the curtain. Right. Or, like, almost breaking of the fourth wall in some way. Like, by the way, here's the real. This is really what happens when you go on vacation.

[Gia Tolentino]

Right.

[Jason Isaacs]

Like in Thailand for most people, and you're sort of at this place, and there's real people and random people, and it's sort of like, whatever. But it is so almost unsettling. Right. Even I was sort of like, well, we can't.

[Gia Tolentino]

We gotta get out of here.

[Jason Isaacs]

We gotta go. Like, what are we gonna do here?

[Gia Tolentino]

Where are we going? I don't care, but I am not staying here. No way. Just got drinks. I finish your drinks. And Jacqueline, like, she's also doing this extremely recognizable girl thing, I gotta say, where it's like she's really in search of, like, the perfect party. But she.

[Jason Isaacs]

Yeah, right, right.

[Gia Tolentino]

You know, she wants a really specific vibe, and as it eludes her, she just psychologically unravels, you know, Like, Jacqueline, who's the picture of ease and just gracious victory for the first couple of episodes here, is in, you know, cold sweat the entire time that she's like, but we just need to have fun in this exact specific way that will make. Make me feel young and make me feel like I'm still, you Know, like.

[Jason Isaacs]

Yeah, right, right. She's searching for the restoration of some.

[Gia Tolentino]

Idea of herself, and it kind of recurs later. And there's a similar thing where they're like, okay, let's, like. Let's do something, like, authentic. Like, let's go somewhere that's, like, bustling with. You know. Jacqueline starts the episode by being like, it's kind of. It's quiet here. It's dead. Like, we need to be in the mix. We need to really be in the mix. And then we're finding out what being in the mix means. And there's also a thing where people go to Southeast Asia, slash Thailand, slash anywhere. And they're like, we just want to, like, be among the locals, you know, like, do something the locals do, you know, like, be around, like, more local color. And they go around local color, and they're just around a bunch of Thai kids that start pummeling them with water guns.

[Jason Isaacs]

Yeah.

[Gia Tolentino]

Ruining their hair. Ruining their look.

[Jason Isaacs]

Right, exactly. I mean. Right. That was. They actually are experiencing something authentic, which.

[Gia Tolentino]

Is also kind of shot like a horror. Like, it's kind of like. It's like they're in the trenches in World War I, sort of dodging fire.

[Jason Isaacs]

A little bit awkward on the Western front. I mean, they're kind of going down the alley, and there's a little. Little kid with the water gun, and Jacqueline is like, oh, cute. And then the camera lingers on that kid's face and is like, oh, no. Then it's like, revenge. The kid gets a whole gang and comes after them and again, completely unseats them. Right. They're no longer in their sort of perfect poise and, well, coiffed and all put together. They are thrown out of their element.

[Gia Tolentino]

Entirely, and they're no longer able to see kind of the entire world as just an interchangeable backdrop for their victory tour. Right. Like, it's like, actually the world has impulses and people of its own. REM.

[Jason Isaacs]

The other thing that kind of gets kicked into motion at the beginning of this is with Rick and Chelsea. And he says, like, okay, I gotta go to Bangkok. And he has that encounter with his therapist. Right. Who's like, I would love to see you again. And I found this to be very affecting. I'm curious for your thoughts on this.

[Gia Tolentino]

Yeah. I mean, Rick is having begun the show broken. Like, Rick. The tsunami came for rick at age 10 or whatever. Right. Or age zero. It came for him in the womb. And he has been on this journey where it's like, will he choose to heal himself? Here with this girl who loves him and wants nothing more than for him to be healed and accepts him in all of his brokenness and is not afraid of it. Or is he going to lean harder into it and murder the co owner of the hotel? Yeah, I found it extremely funny, the scene when Rick and Chelsea are talking at breakfast and he's like, I'm going to Bangkok. And she's like, but you have to be on the boat first. And he's like, I'm not getting on that boat. And that face she makes, I mean, we both have toddlers.

[Jason Isaacs]

You were like, that's the face my 4 year old makes when he's trying.

[Gia Tolentino]

To get her on. I've seen that face and it is a fake face. And it works and it still works plenty of the time. And it worked on Rick. Rick's like, fine, I'll get on the boat. Which is a boat that like, you know, if someone's like, come get on my yacht and sail all day. There was a lot of resistance to this in the part of the characters.

[Jason Isaacs]

I know. I was like, the answer is yes. Some of these places you get, I want you to go on my fancy.

[Gia Tolentino]

Bo and Parker Posey's like, I don't want to go. And they're like, why? And she's talking about, we hang out at the country club, mom. And she's like, well, that's different. You know, I know them, they know me. I know they're decent.

[Jason Isaacs]

I know. It's funny, her whole. There's like this tremendous tension being built the whole time between the world that she inhabits, that she loves her husband for having built for her, that like has its values that she believes in. And anything outside of that is sort of questionable. And then. But we know what she doesn't know, which is that that is unraveling. Like that is a colossus of clay feet and it is about to disappear. And so the more that she keeps repeating it over and over, what's important to her? What's important to her. You're bracing for her fall.

[Gia Tolentino]

I'm truly excited to see her withdrawal spiral. I hate to say on the next episode, when she no longer has access to a Xanax every three to four hours. But how she's on a yacht and she hides her. She's so worried about her purse. It's safe there, right? She hides her purse behind a cushion. And her husband is the one obviously that steals the drugs.

[Jason Isaacs]

Right. There could be no. There's no other potential culprit.

[Gia Tolentino]

Right.

[Jason Isaacs]

Cause her sense of propriety and fear of strangers means that on a very fancy boat, she wants to hide her purse somewhere.

[Gia Tolentino]

Right. But she should just be hiding it from her husband. And there's something like, wonderfully, the show is not gonna go hard on this, but they are an upper class family in the. It's like, where do you think all this money came from in the first place? You know, where do you think? Your beautiful house, this beautiful land. Like, where do you. You think, oh, there's a certain. She's like, well, he's in finance, you know, and as we all know, American contemporary financialization is completely upstanding, not exploitative. You know, it's like she has this idea that he's making money the clean way.

[Josh Berman]

I am a pillar of the community.

[Jason Isaacs]

I am now. Oh, yeah, the morally neutral world of high finance.

[Gia Tolentino]

Exactly, exactly.

[Jason Isaacs]

As opposed to whatever his grandfather was doing as governor of North Carolina during segregation, presumably.

[Gia Tolentino]

Yeah.

[Josh Berman]

My grandfather was the governor of North Carolina. Father was a very, very, very successful businessman. Thank God he's dead.

[Jason Isaacs]

I've been in general, kind of loving seeing the proud patriarch spiraling like a proud man coming undone, which is what starts happening through this whole episode. He reveals at one point sort of like his pedigree and how he raises a glass to his dead parents and grandparents. So they're not gonna see his downfall.

[Gia Tolentino]

Right. Also the sort of recurring identity as a prison thing. That's what I was thinking about when the dad was talking about his grandfather. His father, you know, he has been imprisoned by the requirement to have $10 million. Do you know what I mean?

[Jason Isaacs]

Right. And also, like the encounter in the lobby.

[Gia Tolentino]

You have touched my heart, and I.

[Sarah Catherine Hook]

Hope you will hear me when I say it.

[Gia Tolentino]

You are not stuck. You can let go of your story. You can escape the karmic cycle.

[Jason Isaacs]

I was like, oh, this is again what the show is about. This is what I think the whole series is about. This was. I was sort of vindicating my thesis about season one, which is really boomeranging now in season three. And I was very struck by this because there's. The same language is used. There's. I think when Tanya first gets on Belinda's spa bed, she says something like, let go of your story. Every moment, Every moment, I'm being born into this life.

[Gia Tolentino]

I'm being born into this life. I will drop the story. I will drop the story and feel the newness of each moment. I feel the newness of each moment.

[Jason Isaacs]

And then every day, you're born anew. Right. And this is also that Buddhist language of atemporeality and not having a narrative and so on.

[Gia Tolentino]

Right.

[Jason Isaacs]

And so then that comes up here and also like it kind of is even reflected the visual cue of like, they wake up every morning. They wake up every morning. Is this going to be the morning where they're divorced from their past and future? Because that's the whole thing with Buddhism. It's like pain resides in the past and the future with regret and anxiety. And that's your story. So if you let go of your story, then you're released from that. And then I was just like, oh, this is really incredible because he's using the huge architecture of extremely detailed, fine grained human storytelling to get the point across. That story is not the point.

[Gia Tolentino]

Yeah, but it's also funny. It's like there's lots of ways for story not to be the point. Right. For Rick to escape the past and the future means one thing. To escape the way that he's been living under the curse of his father's murder, which Walton Goggins is pulling off. This highly melodramatic storyline I'm getting so.

[Jason Isaacs]

I can't even believe that at the beginning I was like, I don't know, maybe I'm like Walton Goggins inhabiting this.

[Gia Tolentino]

You're locked in as Goggins and was.

[Jason Isaacs]

Also really thinking like, well, is he going to get a chance to get. Is he gonna escape the narrative that he is telling himself? And that's what's making him so unhappy.

[Gia Tolentino]

But it's different for him versus like when they finally get to the boat. So a lot of this episode is they're preparing to get on the boat and they get on the boat and once they're on the boat, the class of sort of white men from various places in North America or Australia who are just talking about how they've come here to hide money from their ex wives, hide money from the government. Someone says a line about, you're either here, you're running from something or are looking for something.

[Jason Isaacs]

Right.

[Josh Berman]

I heard someone say that anyone who moves to Thailand is either looking for something or hiding from something.

[Gia Tolentino]

Rick has a reason to transcend his past currently. And you see Timothy Ratliff considering this all the time. He has a very particular reason to transcend his past and start over and live in a sort of eternal return of the present. So what about you?

[Jason Isaacs]

You hide?

[Josh Berman]

Are you seeking? I'm just on vacation with my family. But you never know.

[Gia Tolentino]

You know, it's like it's salvific. For Walton Goggins. And it is undeserved. Amnesty for Timothy Ratliff.

[Jason Isaacs]

Right. I know. I was wondering if at a certain point, when they're talking about all that, if Tim is like, well, that's where I'm gonna wind up, basically. Like, how much money can I get out of whatever accounts are still liqu. Like, disappear into the jungle here? A lot happens on the boat. That's where Rick reveals to Chelsea that the man who murdered my father owns the hotel. And then she has the funny line from Princess Bride. She's like, is this like, you killed my father? Prepare to die. My name is Inego Montoya.

[Gia Tolentino]

I continue to love, you know, having appeared off of the boat to have a certain kind of relationship. They actually. You know, the thing that prompts this admission from Rick finally, is that she pulls him out, and she's like, I'm about to leave. You know, she's like, I'm gonna leave you.

[Jason Isaacs]

Right, right, right, right. It's when she threatens, and she does.

[Gia Tolentino]

It calmly and honestly.

[Jason Isaacs]

Yeah.

[Gia Tolentino]

And I was like, good for you. Guys are communicating.

[Jason Isaacs]

I know.

[Gia Tolentino]

You know, like, they're actually really good together.

[Jason Isaacs]

You know, they're a totally functional complex.

[Gia Tolentino]

They're actually communicating so honestly. And then Rick's like, okay, I'll tell you. And he tells her, right?

[Jason Isaacs]

That's true.

[Gia Tolentino]

He comes in as the person with the most seeming like he has the most to hide, and he is the only one.

[Jason Isaacs]

It's actually not that he's hiding. It's too painful for him to reveal, basically. Right. Because he knows that once that happens, then the dam is going to break, and then he has to reveal all of himself to her, and then maybe that's dangerous. Maybe she won't want to be with him anymore. Right. Who knows what that entails?

[Gia Tolentino]

Right?

[Jason Isaacs]

Also, on the boat, you get more of the lovely sibling dynamics between the Ratliffs. And Saxon's trying to get Lachlan laid with the lovely ladies.

[Gia Tolentino]

And Lachlan is like, you know what? I'm going to do that because my sister is about to leave me. I found that. So I found.

[Jason Isaacs]

Yeah, that was very sweet. Yeah. He's like, what about me?

[Gia Tolentino]

Yeah.

[Jason Isaacs]

Where? If you go, what about me?

[Gia Tolentino]

And she's like, sweetie, you'll be at college. And he's a little bit trying not to cry. It was so sweet. And then he's like, well, fuck it. I'm just gonna get laid. He starts doing. He starts doing magic.

[Jason Isaacs]

He's like, I know the way to get laid around here.

[Gia Tolentino]

It's what he's got.

[Jason Isaacs]

And then it turns out he's very good at it, wowing the ladies.

[Gia Tolentino]

It would absolutely slay if everyone is drunk and you start doing close hand magic. That would be.

[Jason Isaacs]

It is sweet how all the siblings really need each other. And even though Saxon's giving Piper a hard time, I feel like if Piper needed Saxon, he would be there.

[Gia Tolentino]

Yes.

[Jason Isaacs]

Right. Like, he would 100% show up for her. I'm curious, actually, how your feelings have developed, if at all about Saxon. Cause my years are changing. Yeah.

[Gia Tolentino]

You're becoming more sympathetic to him because of the way he is towards Lachlan.

[Jason Isaacs]

Yeah. Yeah. It could also just be.

[Gia Tolentino]

Is it also the introduction of his possible lack of business acumen?

[Jason Isaacs]

Yeah. Well, he has a weakness now. He has a vulnerability. Like, he's not perfect. He thinks he's perfect, but he's not, which is among the worst kind of vulnerabilities. Right. And so I'm finding him a little bit more sympathetic. It could also be. I like watching him, like, he has such an easy. The way that he flirts with those girls, the way that he. He has, like, all the exact movements down of, like, how to deal with them.

[Gia Tolentino]

I'm slightly triggered by it.

[Jason Isaacs]

Right. Okay.

[Gia Tolentino]

Having had all of this work on me seamlessly in so many years of my life.

[Jason Isaacs]

So for me, it's the opposite, where it's like, that's the guy that, like, I wanted to be in high school, and the guy that I always saw was like, how do you pull that off?

[Gia Tolentino]

There are some guys that just that walk into a situation, they are absolutely sure they're gonna come out of it with what they want, and there is, like, a pleasure in being around that kind of guy, even. And especially sometimes if what they want is you or what they want is to get something out of you or, you know, So I kind of inherently have a soft spot, so to speak, for that person. But I don't know. I need Saxon to sort of confront the terrifying divine in this. In this season. You know what I mean? I need him to be humble before an encounter with the other. You know, And I think he might, but I want that.

[Jason Isaacs]

I know. I mean, that's why. Especially somebody like that who's so sure of himself, I want him to become very unsure and see it's different for his father, who, you know, for all of his pride, which is go a thing before the fall, he still is somebody who's lived life and has raised children and has dealt with, like, the emotional kind of Vulnerabilities of just that alone. Right. You just are different at that stage in life than where Saxon is. So we have, like, the wounded lion of Rick, and then, like, the proud father coming undone. And then I wonder where, like, the striding buck is. What's gonna happen with him, like, when his foot gets caught in the trap, to extend the sylvan metaphor. But, like, I also just. I mean, in some ways also, I'm thinking about, like, Patrick Schwarzenegger himself is kind of from this. You know, he's a Kennedy dynasty hanging over him. Yeah, exactly. And he just. He moves through the world in that way. It's like, oh, am I watching? Is this what, like, Jack Kennedy was, like, you know, at Harvard. Right.

[Gia Tolentino]

But there's something interesting about Saxon's character, specifically where it's like, I would bet $100 right now that that character has never been in love. You know? Like, I think when he's talking about, like, I love work dad, like, he's so. He thinks that the world is conquerable, and it's been so easy for him to conquer in so many specific ways, but I just, like, have a feeling that has never actually been in love.

[Jason Isaacs]

Yeah.

[Gia Tolentino]

And I want something that terrifying to happen to him. Another way that the cue balls are scattering is the Belinda and Greg situation, which is tightening up. Like, we don't know if Greg was in her room or if it was simply a monitor lizard. She's also afraid of the wildlife. You know, it's been established, but, you know, we know that the sun is on his way.

[Jason Isaacs]

They're researching each other.

[Gia Tolentino]

They are researching each other. They are mutually Googling each other. And it's a little like, the stakes are high.

[Josh Berman]

Yeah.

[Jason Isaacs]

It's ratcheting up. And it's a little, like, hints of it only in this episode, but you see. But it's like, now it's clear they've got. They've made each other. They each know.

[Gia Tolentino]

They're eyeing each other in the lobby.

[Jason Isaacs]

They know what the other knows. And now it's like they're set on a collision course.

[Gia Tolentino]

I mean, the question is, what is there to. What would you do if you're either of them? Like, I'm trying to be, like, what would I do if I was. Like, if I was Belinda? Do I trust Chloe enough to care? No. Not telling Chloe he's not connected to the White Lotus in any way. You can't tell the White Lotus, you know, like, who do you support?

[Jason Isaacs]

Right. What is her recourse?

[Gia Tolentino]

She doesn't have any Recourse. And his only recourse is I am going to do something to the sun to make her keep quiet, basically. Right. Like that's the only thing.

[Jason Isaacs]

That's the only thing he was focusing. Right. He gets on her Instagram, he sees.

[Gia Tolentino]

Her son, he's looking for collage, he's looking for some sort of angle and he finds nothing. But, you know, I mean, he finds the quickest thing to hold over a parent's head, which is the well being of their child.

[Jason Isaacs]

Right. He's really interesting too. He was like sort of in season one, plays this kind of goofy, guileless character. And now he's this like stoic monster that we know has this like simmering.

[Gia Tolentino]

Yeah. Like giving serial killer actually.

[Jason Isaacs]

Exactly. Right. And then when he says it's like, what are you, Are you hiding or seeking? Yeah, what's the name of the episode? And it just like hits so hard.

[Gia Tolentino]

Well. And they both say, you know, he's like, I'm on vacation with my family. And he's like, just gotta get out of the rat race, you motherfuckers.

[Jason Isaacs]

Yeah.

[Gia Tolentino]

As Parker Posey says when they get off the yacht, I bet some of those guys were actual killers. And I was like, she sees, she sees and she knows. And then so Timothy, you know, resurfaces from his haze and is like, pam, I need my phone. Pam. He gets the phone, gets the horrific news that he's gonna lose everything. And you know, his muscles and bones are melting, you know, in front of us. And he slumped over the guardhouse kind of railing and he sees the guy.

[Jason Isaacs]

Why the fuck did the guy talk?

[Gia Tolentino]

Guy talk is honestly horrible at his job.

[Jason Isaacs]

Bad security guard just leaves a gun sitting. By the way, it's not even just like on the desk, it's on the counter.

[Gia Tolentino]

It's on. Right.

[Jason Isaacs]

Well, because he sees it from outside the shed.

[Gia Tolentino]

Right.

[Jason Isaacs]

That's a very conspiracy word ever was.

[Gia Tolentino]

Gift wrapped. You know what I mean?

[Jason Isaacs]

It's in the gift box.

[Gia Tolentino]

Do you need a gun, sir? At this moment, it's like the fifth time or whatever that Chekhov's gun has appeared in the scene. Like it's just coming up every single episode. It's kind of amazing.

[Jason Isaacs]

It's an insane twist on the Chekhov gun.

[Gia Tolentino]

It's the eternal recurring checkups guy.

[Jason Isaacs]

It keeps coming, having more import. It takes a while to be. We know it's there, then it's revealed, then it gets now stolen.

[Gia Tolentino]

Yeah. He takes it like he immediately beforehand says, I would rather die than go to prison. And So I was like, okay, he's gonna take the gun.

[Jason Isaacs]

Yeah.

[Gia Tolentino]

Yeah.

[Jason Isaacs]

When he returns to dinner after having learned, basically, that the wave has arrived and the sort of shot lingers on his face, trying to resettle himself at dinner, and just the expression on his face is so tremendous.

[Gia Tolentino]

Yeah. But it also. To me, I was like, this is also giving me. When I was 25, trying to follow the conversation at brunch when I was hungover. Do you know what I mean? You know when you're, like, at a wedding event after the wedding on Sunday, and you're trying to talk to somebody's mom and you're just, like, just waiting.

[Jason Isaacs]

For the Bloody Mary to show up so you can get right again?

[Gia Tolentino]

Yeah. But your eyes are kind of wandering off in different directions.

[Jason Isaacs]

It's interesting, as we've been discussing, a lot happens in this episode. The gears are turning, the Billy Balls are moving, and. And the Chekhovian gun has appeared and has made its way into the hands of one of the protagonists who's losing his mind. And it is very plotty, actually, in comparison to previous. The previous two seasons, particularly season one.

[Gia Tolentino]

But it's also kind of a. I mean, there's a joke aspect to it also, right, where it's like the show is playing with. Exactly. You know, you're just gonna keep seeing the gun, and it's just not gonna be doing the thing that you think it. That you expected it to do. Right. Like, it's like you're gonna see the gun, but it's not gonna be the mass shooting or whatever that's starting episode one.

[Jason Isaacs]

You're right. I bet you it's like the violence is not instrumental. It's going to be the denouement of some of the emotional carnage. Right. And it's gonna be the outcome of something as opposed to the thing that sets it in motion. What sets things into motion here are just the people and who they are and what they're afraid of.

[Gia Tolentino]

Right. And now we're so excited to talk to Jason Isaacs.

[Jason Isaacs]

He's told them everything. I think the best we can do is plead guilty and cut a deal.

[Josh Berman]

We're just gonna roll over. Are you not serious? If I plead guilty, Chuck, that's the end of my career. You understand? I can't work in finance if I plead guilty to fucking embezzlement and fraud.

[Jason Isaacs]

Tim, that's the least of your problems. This is the kind of case these guys dream of. They're gonna come after everything you have.

[Josh Berman]

Jesus fucking Christ.

[Jason Isaacs]

All right. Welcome, Jason Isaacs. To the White Lotus Season 3 Official Companion Podcast.

[Josh Berman]

Oh, thanks very much.

[Gia Tolentino]

So I'm from Texas, and I went to college in Virginia. And so the character that you are playing, I feel like I've known him my whole life, because I have known versions of him my whole life. And I wanted to ask you about playing this. This archetype. Like, were you familiar with this?

[Josh Berman]

I'm immediately offended by using the word archetype there, because Mike White.

[Gia Tolentino]

Sorry, sorry.

[Josh Berman]

Far too nuanced and sophisticated a writer. You're absolutely right. He introduces people you think are archetypes, and then he adds or strips off layers and layers, and you go, wait, I thought I knew this person, who they were.

[Jason Isaacs]

Right?

[Gia Tolentino]

I mean, he comes off the boat as someone you think, you know. Right. He's giving, like, golf dad in finance, you know, taking this break. But I wanted, you know, how did you go about inhabiting not the archetype, but this character?

[Josh Berman]

Well, I. For me, because I'm English, I started with the voice. I knew some Durham, North Carolina, so I got some people from North Carolina, until I honed down to one particular person whose voice I wanted to do and broke it down phonetically. So there was the voice. But also, he's what Tom Wolfe called a big swinging dick, you know, and it's incredibly important to him how other people see him. Not that he's anxious about it, because it goes well for him. He has huge status within his family and in his community back home. So you need to build that before Mike starts to puncture it. You know, the zeppelin starts to leak very, very slowly, and then it deflates very quickly with a couple of phone calls. You look at the function in the story, like, what kind of person would create Saxon as a son and just come in dripping with power and privilege and entitlement and total lack of doubt, and then allow the audience, at least, certainly not me, to enjoy the journey as all the things that he thinks he is are taken away. This is. It's White Lotus in Thailand. And Mike's been explicit that it's a search for identity. What is the self. And I think Tim probably faces it more than anybody because everything that he is is threatened to be taken away and everything that his family think they are, too. So the pressure builds to a hideous climax.

[Jason Isaacs]

Yeah, it's really. It's a strange, like, exciting for song watching, like, a great man spiral, you know, watching the Descent. So I was like, what in your own life have you drawn on to create this character?

[Josh Berman]

My catastrophic failures on the screen, they don't really matter.

[Jason Isaacs]

The great man smiling, possibly.

[Josh Berman]

People who know me well might see what I have in common. I don't think I have any comment. I think I'm a bit of a blank slate. I mean, as a human being, I'm not quite sure. I have a very amorphous personality. I tend to adopt the accent of whoever I'm talking to after a short while. And I just jumped in the world that Mike created and the bits seem to fill themselves in. It's a bit like, you know, you have an outline and you fill up from the inside or outside, or the jigsaw slowly fills itself. What really helps is the other actors. So you're looking in other people's eyes and they seem to be your children. This person seems to be your wife. And luckily, thank God, we're one of the shows that's still on a real location before AI makes it all happen in a computer. So anything that helps you trick your imagination is of use because that's what acting is, just imagining you or someone else in another situation. But 99.9% of it is Mike's ability to dream up full and human worlds, I think.

[Jason Isaacs]

Well, let me ask you a different way then. Is it. Was it then fun?

[Josh Berman]

A different answer? Josh, is that what's going on?

[Jason Isaacs]

No, no, no, no, no. I'm going to get the answer. Okay, go on. No, no. Ask a different version of an adjacent question, which is. So then, was it fun to luxuriate in this fully formed, spiraling great man that Mike has created for you?

[Josh Berman]

That's a very perceptive question. Because he's really unhappy. I mean, I experienced as much as I could. I know it's pretend acting, but when you're very, very angry, you come away with your cells, you know, carry the anger. If you're crying all day, which I've done films where my kids get killed and stuff. I did a film called Mass, which was all about losing a son and hanging onto the anger. You know, we cried for weeks. And so this. It was incredibly stressful being him. And yes, you're right. I love that. All actors love that. We like vicarious, extreme experiences. So I get to, you know, have been in war numbers of times, but they're not real bullets. So as close as I ever want to get. I do. And this is as close as I ever want to get to my world falling apart and being broke. And yes, it is funny fun. The more extreme, the more fun. Although I shat myself, to be honest. When I read the script, to start With I thought, oh, wait, I've got to raise my game. And I gotta. Can I pull that scene off? Mike's written something really extreme, and I've got to make it truthful and emotional and those things are demanding of. And I know you can't always get there, but it did feel like it was scary. Biscuits. Two things. One, having some big acting and two, having to hide a secret for many episodes without words and in ways that aren't boring. That was also a challenge in your.

[Gia Tolentino]

Mind as Tim is unraveling. You know, there's so much in the story about the Ratliff family values and what they stand for and how important that is.

[Josh Berman]

And everyone being a dagger to the soul for me, every single. Every time he thinks or says that, I know. I mean, there is a cliff coming at me at a million miles an hour and there's no way to avoid it. And so I had that always in mind. And as an actor, what you want is secrets. You're desperate to have secrets. To say one thing and mean it is really nothing and feels like nothing. But all the time that the dialogue's going on around me, and all the stuff that he's created and structured on purpose is the stuff to make my world worse. All he does is tighten the vice on my heart. And I don't know how much the audience get of it. I was trying to feel it and think it, and I hope that they sense it in me because I'm not talking very much.

[Gia Tolentino]

Well, yeah, and the way that you are not talking is incredible. That's like when. When Parker Post is like, say something. And you're like, oh, you know. But I was wondering, as you experienced it, do you think that Tim is reevaluating those values, or is he simply thinking about, how can I not lose my house? You feel something building, such as, like, perhaps the most money in the biggest house was not the thing that I've been directed my entire life to want and build. Perhaps that has led me here and it shouldn't have. You know, to what extent is he thinking about it?

[Josh Berman]

Yeah, I mean, the writing's too complex for it to be either one of those things or the other. It's both. At the same time. I was thinking, how the hell am I going to. What am I going to do? I cannot imagine a life without it. I'd equate it to someone going into rehab or going to AA or something like, I cannot imagine a life without this, but I have to, or I'd rather die. And so there's people who do go into recovery, the people who go decide they want to live, or people who are forced by a court under a DUI to go to aa, they don't want to be there. They get there and they go, yeah, I. So he's not one of those people who's gone to Thailand, gone for a Buddhist meditation retreat and thinks, no, I should reevaluate. He's got no choice. He's going to have nothing and the family have nothing. So I don't think he's spending much time thinking, you know what, maybe I should have made some different choices and I'll be okay. I think he's forced, like the walls closing in on him and forced to think, can I live without this? Can my children live it? Can any of my children or my wife survive if they had to go and get a job in a shop and rent an apartment or live in public housing and realizing with horror that none of them are equipped for any of those things? So, yes, he's reevaluating, but it's at gunpoint. So it's not the same kind of re evaluation that people are doing around him.

[Gia Tolentino]

Yeah. Do you understand him as someone. I was like, what is his relationship to pleasure? What is his relationship to. Does he have any sense of his own identity aside from.

[Josh Berman]

Sure he does. Cause he's not had to question it. Sure. He's not had to question any of those things. Things came easy to him. He was handed money, he made it into more money. He was handed status. He comes some blue blood. He'd probably trace his family back to the Mayflower. No, no. I think that he's probably a sensualist in many ways. I think he had all kinds of pleasure. I don't know if he was getting pleasure from his marriage. It doesn't seem like that's going particularly well. But he gets pleasure from power and status and probably from golf and high adrenaline. Gets endorphins released from pushing himself physically all the time and winning. That's why Saxon has so grotesquely misinterpreted the point of life, which is winning. Saxon tries to dominate women everywhere and dominate his brother because he actually has. No, because he works for his dad. He's watched his dad be a winner all the time. So, yeah, I think he takes tremendous sensual pleasure from all food and drink. He's a bit of a fat cat. I put a bunch of weight on in the show and for the show and I. I was comfortable doing that. I wanted him to be a bit of a kind of chunky fat. He goes to the gym a lot, but he also eats a lot and drinks a lot of red wine and all the rest of it.

[Gia Tolentino]

He's got an ample wine cellar for sure.

[Josh Berman]

Yeah, I, I absolutely. I think he indulges in everything left, right and center. He's kind of. You know there's a Henry VIII called because the more you do that, the more there is to take away.

[Gia Tolentino]

Yeah.

[Jason Isaacs]

Do you think that the deal with Kenny was just like a one time peccadillo that really was a favor to a friend or.

[Josh Berman]

No, I think most of money makes money. You don't have to be illegal but you do not want to pay any tax. The more rich you get, the less you want to pay tax. I think he is comfortable to get away with whatever he can get away with. I think he's a Darwinist in finance. What you can do, you should do.

[Jason Isaacs]

And this is systemic with him, do you think? I just was like, I'm just up.

[Josh Berman]

For any deal that he can get away with. So yeah, he's done it before. He doesn't make his money out of being crooked because he doesn't have to. He has so much money most of the time the deals are good but if the dealers happens to break whatever law is there, if no one's going to catch him, that's fine too.

[Jason Isaacs]

Yeah. This is like we were debating. I was like, what if he.

[Josh Berman]

What if he's a lovely guy to the favorites of friends.

[Jason Isaacs]

Yeah, exactly. That's what I was like. I was like, is that what we're meant to take away? You never know.

[Josh Berman]

I don't think it's nearly. Look, has been operating a Ponzi scheme or something like he's sort of crook. He's just got tons of money, Administers a hedge fund with his own money and other wealthy people around him. And sometimes you can avoid tax and move things around and that's what everybody in that world does and they don't think twice about it. And so this was just another side deal for someone. So he's not, you know. Is he a criminal? Yes, he's absolutely a criminal because he doesn't. Has no regard for laws that he can't be caught by. That's why he's so shocked. I've played a number of criminals in my life and met the people I played a couple of times and they go stupid if people go to prison. I've heard more than one person say, only really stupid people get called. Most of us get away with everything. All the Time. And that's. I think he feels really stupid that he got caught.

[Gia Tolentino]

Can I ask who is Tim's favorite child?

[Josh Berman]

Oh, it's Piper by far.

[Gia Tolentino]

Yeah. We knew it.

[Josh Berman]

We knew it. He's disappointed by both of his sons in so many ways. And he absolutely worships. I mean, probably worships him in all the wrong ways and places her on a pedestal. And even though his world's falling apart so he could care less, she's gonna have to get a job somewhere folding T shirts, you know, so all this talk about what they're gonna do in the future and what she's gonna do is irrelevant if he doesn't sort this situation out and he's got no solution for it. But, yeah, no, it's his daughter, always.

[Gia Tolentino]

And do you think that. Right. There's this sense that he respects her because she's chosen also what that she wants?

[Josh Berman]

Oh, no, no, no, no. It doesn't matter what she says. I want to be an astronaut. I want to score the winning goal in the World Cup. None of these things are going to happen. They're going to get home. They have no house. They have no car. She has no phone. They have no. They will have no money of any kind. How's she even going to fly to Thailand, Right? No. No. So the whole thing is some bizarre.

[Jason Isaacs]

Farce playing out in front of him in this episode. You get the call, the shit's gonna hit the fan. I guess we can say that on the phone.

[Josh Berman]

It's all done, basically. So there is no way out of it.

[Jason Isaacs]

You may need a prison.

[Josh Berman]

Yeah.

[Jason Isaacs]

Spies. The gun sitting at the. In the security station. So what do you think is going on there? What do you think Tim's intention is with the gun? Or is it just like.

[Josh Berman]

Absolutely. To kill himself? Is he going to wait for the end of the week? He doesn't know. His brain is in a blender. You know, he's in free fall. But there's a gun, and you can end it quickly. And whether he's going to do it right there when he. In the guard station, whether he's going to write a note, do it late at night, the next day at the end of the week. You know, he's not that organized at that point, but he knows that there's a way out. And before he saw the gun, there was no way out.

[Gia Tolentino]

Thank you so much for talking to us.

[Josh Berman]

I could talk about it forever.

[Gia Tolentino]

Well, there was never any doubt in my mind who the favorite was going to be.

[Jason Isaacs]

Yeah, confirmed.

[Gia Tolentino]

Yeah, confirmed.

[Jason Isaacs]

Another predictive Point on your bingo card.

[Gia Tolentino]

And now I get to talk to that favorite child, Sarah Copenhage or Piper Ratliff. Sarah, Catherine, thank you so much for coming on the HBO Companion podcast.

[Sarah Catherine Hook]

Thank you.

[Gia Tolentino]

We are loving the show. Yay. And I have to say, so I'm from Texas. You're from Alabama, right? Yes. Yes. And, you know, when the Ratliffs walk off the boat, immediately, everything. The clothes, the. You know, the way that Jason Isis is carrying himself, the way that the siblings are. Everyone is well groomed and a little bit repressed and a little bit about to act out. And, yeah, there's so much that felt. And I went to college in Virginia. I just felt very familiar. And I wondered, you know, for you reading the casting notice and playing this part, did you feel like you were coming into sort of familiar territory from home at all?

[Sarah Catherine Hook]

Too familiar, honestly, yes. Being from Alabama, I'm also the middle girl between two brothers. Like, I mean, I am this bitch. Like, the second I saw the Breakdown and everything, I was. Am I being bunked? How did he know this was my life? He even asked me to in the beginning about the accents, and I was like, mike White is asking me my thoughts on what we should do with this family. That's really cool. But, yeah. No, I thought that. Especially with Saxon's character. The first time that I saw him walk out with those really dorky shades with the band and the loafers. Yeah. And the polo shirts and everything, I was like, oh, my God, I'm having ptsd.

[Gia Tolentino]

Me too. This is. Yeah.

[Sarah Catherine Hook]

It's, like, immediate. Like, cringe all over my body. Like, ew.

[Gia Tolentino]

Like, I flirted with this boy with a solo cup over a cat. Yeah.

[Sarah Catherine Hook]

It's so gross. It was so grossly perfect. And just thought they nailed it completely.

[Gia Tolentino]

I didn't know that you were the middle girl of two boys. Tell me more about that dynamic. Like, are you quieter than your other two siblings? You know, like, what's the. Tell me about the.

[Sarah Catherine Hook]

That's a good question. I was definitely very, very shy when I was. I couldn't speak to other people in public. And it's interesting. Oh, God. We might get into some therapy talk now. But it was one of those things that I had to overcome. But what I do love about Piper is that I was able to kind of embrace that inner child in myself, that shy girl who. I feel like Piper is also that, because I think I've. I've kind of, in a weird way, feel like I've been trying to perform out of my shyness and naturally too, I think as the only girl in my family, once I felt the warmth of the spotlight, it was so hard to avoid that. So I definitely got very loud and I kind of overtook, like I said, the spotlight with my real life brothers, Forest and George, my shout out to them. But yeah, I think there are definitely similarities that I share with Piper. But then in, in real life, I don't really feel like the middle child. A lot of people think I'm like the youngest because I can be very bubbly. And so I feel like the youngest is kind of loud and lacks awareness usually.

[Gia Tolentino]

Well, yeah. And presumably the psychosexual dynamic on is perhaps particular to the rat lives here.

[Sarah Catherine Hook]

Yeah, yeah, for sure.

[Gia Tolentino]

I wondered for you as you were thinking about Piper. She seems like she's been a good girl her whole life. She's been smart, she's had it together, she's neat, she's held up that sort of obligation of that role in her family and now she has her sights on something else. And did you think of this as this is the first time that she's perhaps about to rebel? Is this the first time?

[Sarah Catherine Hook]

Well, made me think so. I think given that she is a student at Chapel Hill, I think she's been very disciplined in her studies forever. I imagine she was a straight A student. You know, I feel like for her, she's probably like a goal oriented person where like her whole high school career was about getting into the right college. And then once she got into the right college, then it's like, okay, what's the next step? And a lot of the times, like when you, when you go off to school and you're, you are plucked out of your immediate bubble of your family and you learn all of these new ideals and develop your own opinions, then you start to think, oh, God, what I was raised upon is just so wrong and how could I ever prescribe to anything that my parents raised me to believe? And so I think whether she's aware of it or not, I do think, yes, there is a rebellious streak within her, but not. I don't know if it's intentional in the sense. It's like I'm doing this to get back at my parents. I do think she is very sincere about the path forward that she's taking. And I think she is someone who takes everything that she does very seriously. And she just fell in love with Buddhism and the practice. And I think for her she's like, this is what's going. Like, this is my purpose right now. And this is what's going to give me my purpose. And it makes total sense, too, given the nature of her family and how crazy they are. She wants something completely different and respect. I mean, she comes from a. I mean, even for myself, I don't know, coming from Alabama, I definitely had a big culture shock. Like, I went to school in New York, and I was a music major and was introduced to a whole new world. And. And it does actually genuinely rock your world a little bit. And I grew up in the church, and I kind of had my first taste of other forms of spirituality while I was in college. And you do start to develop your own interests, and then your parents have a freak out about it because they're like, but what about Jesus? You know?

[Gia Tolentino]

So, girl, I cannot tell you how deeply I relate to this exactly.

[Sarah Catherine Hook]

Like, you know, I know.

[Gia Tolentino]

I really know. Well, and I wondered. Yeah, and I sort of wondered. Watching Piper, I was like, it's sort of like you get out of that context and maybe you've had some kind of unnamed discontentment or sort of like, why is this the way it is? I don't love this. But you don't really have the language or the framework to understand that discontentment. And then you. Maybe in college, you experience. You experience something, an alternate framework that's like, you kind of realize, oh, I was perhaps a little more searching for something new than I thought. Right?

[Sarah Catherine Hook]

Yeah. And I just didn't have access to it. That makes a lot of sense. I feel like that's exactly probably what happened with her. Like, she didn't have the avenues available to her, like, in the immediate environment that she was surrounded by, like, with her family. Like, and she probably also, I would think, is just, like, craving, like, actual, real connection that she probably did not have with her family. And that I would think a lot of young kids, like, in very wealthy families, like, they probably were raised by, like, a bunch of nannies and stuff and didn't even have, like, a real relationship with their parents. So that's, like how I kind of. Of justify a lot of her decisions. Just, like, she just wants love and wants a life of her own, you know? Yeah.

[Gia Tolentino]

And I think we can see that she is searching to see who she is outside of the identity of her family. And outside she wants to test it. Right. She wants to see what is in me. That is not just this talk I'm getting from my mother about who the kind of person we are, the kind of people we are. It's like she wants to know what kind of person she is underneath it, right?

[Sarah Catherine Hook]

Totally.

[Gia Tolentino]

Well, last question. We asked Jason Isaacs who Timothy's favorite child is. We thought, correctly, that he would say Piper.

[Sarah Catherine Hook]

Piper.

[Gia Tolentino]

He said Piper.

[Sarah Catherine Hook]

He's biased because he has two daughters. And this we played. We did a Vanity Fair quiz show yesterday, and they asked who his favorite character was in Harry Potter, and apparently it was Hermione. And he said, he was like, she's so brilliant, and I have two brilliant daughters, and I just saw so much. So I think he's biased.

[Gia Tolentino]

Who is Piper's favorite parent?

[Sarah Catherine Hook]

Oh, definitely Timothy. She, like she said. She said daddy's girl, for sure, like she. And this was something Mike talked to me about. He was like, she has to. She fears her mother. Like she. She's afraid of her on and on.

[Gia Tolentino]

All levels.

[Sarah Catherine Hook]

On all levels.

[Gia Tolentino]

Yeah.

[Sarah Catherine Hook]

Like, afraid of becoming her.

[Gia Tolentino]

Afraid of.

[Sarah Catherine Hook]

Yes, exactly. Like all of the above.

[Gia Tolentino]

Yeah. Okay. Well, thank you so much for coming on the podcast. Such a delight to talk to you.

[Sarah Catherine Hook]

Yes, you, too.

[Gia Tolentino]

Amazing how Sarah, Catherine and I are just, you know, literally the same person. Just really wonderful to connect in that way about being the same person.

[Jason Isaacs]

Yeah. All right, so thanks, of course, to our guests Jason Isaacs and Sarah Catherine Hook, and join us for the next episode. The White Lotus Podcast is a production of HBO and Campside Media. This episode was hosted by Gia Tolentino and Josh Bearman. Natalia Winkelman is the managing producer. Our associate producers are Allison Haney, Anthony Puchillo, and Aaliyah Papes. Sound design and mix by Ewin Lynn Trumeuin at Campside Media. Our executive producer is Josh Dean for the HBO podcast team. Our executive producer is Michael Gluckstadt, senior producer Allison Cohen Zarokach, and producer Kenya Reyes. Thanks for listening, and we'll see you next time.

[Gia Tolentino]

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