Jia Tolentino

You could call it that, sure, yeah.

You could call it that, sure, yeah.

But sorry, your theory is that the real sort of thematic subtext is that desire is the thing that causes suffering. Yeah.

But sorry, your theory is that the real sort of thematic subtext is that desire is the thing that causes suffering. Yeah.

But season two is too. I mean, my argument is that like— All plots are about this. That desire is what gives something stakes and the thing that instigates the plot, right?

But season two is too. I mean, my argument is that like— All plots are about this. That desire is what gives something stakes and the thing that instigates the plot, right?

And the needs are what puts the spikes in the plot, you know? But, right, it's interesting because now we are in the home of this ideology.

And the needs are what puts the spikes in the plot, you know? But, right, it's interesting because now we are in the home of this ideology.

That seems to be the difference that the hotel is configured around awareness and spirituality and gratitude really overtly. You know, I mean, it was interesting. The part of the Buddhist writing that Piper is listening to on audiobook is about identity being a prison, that we build a prison, we step into it, we lock it.

That seems to be the difference that the hotel is configured around awareness and spirituality and gratitude really overtly. You know, I mean, it was interesting. The part of the Buddhist writing that Piper is listening to on audiobook is about identity being a prison, that we build a prison, we step into it, we lock it.

I mean, we're supposed to take it as that. Yeah.

I mean, we're supposed to take it as that. Yeah.

But this time there's someone with a gun. You know what I mean?

But this time there's someone with a gun. You know what I mean?

I think there's also something funny happening in the writing too, which is like being aware of something is not morally additive necessarily, right? Like there's this strange weight placed on like, okay, like being self-aware or just being aware of suffering, of privilege or whatever. That scene is somehow redemptive when in fact it's not.

I think there's also something funny happening in the writing too, which is like being aware of something is not morally additive necessarily, right? Like there's this strange weight placed on like, okay, like being self-aware or just being aware of suffering, of privilege or whatever. That scene is somehow redemptive when in fact it's not.

You can be completely aware and still be doing the same horrible shit.

You can be completely aware and still be doing the same horrible shit.

Exactly, yeah. And I feel that there is something funny going on in the writing where – Previously, the characters were often not self-aware. They were taking their experiences for granted, the ability to be at these gorgeous places. And they're more sort of aware and self-conscious here, perhaps because they've chosen to go to a place that's kind of wellness and awareness focused.

Exactly, yeah. And I feel that there is something funny going on in the writing where – Previously, the characters were often not self-aware. They were taking their experiences for granted, the ability to be at these gorgeous places. And they're more sort of aware and self-conscious here, perhaps because they've chosen to go to a place that's kind of wellness and awareness focused.