It is rare for me to recommend television series because many shows do not intrigue me; in other words, I am a cinephile. When I recommend a series, it should mean significantly to the reader's interest. In the case of The White Lotus, it is not merely a superb miniseries, but it is a major comeback for its creator Mike White. White's last two efforts--Beatriz at Dinner and Brad's Status--were thematically shallow. Since it includes six episodes, White can develop each plot thread completely for the audience to grasp the complexity of his characters. The White Lotus concerns a wealthy group of guests at a Hawaiian hotel--The White Lotus--who enact or endure troubles during their trip for the hotel's employees. White begins his narrative with a clip from its ending to acknowledge a murder--like Big Little Lies. The initial question for the viewers is who the victim and killer are, but the mystery is the human behavior White examines. As a satire of classism, White humorously acknowledges the generational and ideological hypocrisies of the elite--specifically a family. White's writing has the kind of sociopolitical intelligence Luis Buñuel would respect. White derives his humor from a state of awkwardness, but he is never smug towards his characters. Whether they are amiable or obnoxious, there is a strange beauty to how White's satire causes audiences to care about these characters. Each performer--young and old--delivers the performance of their career. Jennifer Coolidge's performance, in particular, is hilariously manic and deeply moving in equal measure as a woman dealing with her traumatic past. As the series evolves, audiences witness the characters at their best and worst, and they are always believable due to the ensemble and White's astute writing. With The White Lotus, White successfully writes jokes with an undercurrent of tragedy, and the result is an oddly affecting achievement.

Side note:
I am unsure how to feel about this transforming into an anthology series.