Duke University Distances Itself from HBO’s ‘The White Lotus’
As the current season of HBO’s critically acclaimed series “The White Lotus” unfolds, it has stirred significant controversy—especially for institutions like Duke University, which recently expressed its disapproval of the show’s portrayal of its brand.
Controversy Surrounding the Show
In the sixth episode of this season, Timothy Ratliff, portrayed by Jason Isaacs, is depicted engaging in dark and troubling behavior, including contemplating his own demise and that of his wife, played by Parkey Posey. This scene is notably marked by Ratliff wearing a Duke University t-shirt, prompting an immediate response from the institution.
Duke’s Response
Frank Tramble, Duke’s Vice President for Communications, Marketing, and Public Affairs, addressed the issue directly in a statement to The New York Times. He emphasized that the university disassociates itself from “The White Lotus,” citing concerns over the portrayal of its brand in contexts that do not align with the institution’s values.
“Duke appreciates artistic expression and creative storytelling,” Tramble noted. “However, characters prominently wearing apparel bearing Duke’s federally registered trademarks creates confusion and mistakenly suggests an endorsement or affiliation where none exists.”
Broader Implications of Usage
Tramble further elaborated, stating that the university believes the show not only employs its brand without permission but also does so in scenarios that they find troubling and inconsistent with the image they wish to project.
Additional Controversies Surrounding Jason Isaacs
This isn’t Isaacs’ first instance of generating debate during the season. Notably, he appeared nude in the third episode, which led to a subsequent inquiry regarding whether he used a prosthetic. Isaacs responded to critics by discussing perceived gender double standards in Hollywood, asserting that such inquiries are rarely posed to female actors.
“I said the wrong words in the wrong way. I used the phrase ‘double standard,’ which I didn’t mean at all,” Isaacs later clarified to Variety, acknowledging a need for sensitivity regarding discussions on gender representation.
Conclusion
Duke University’s clear stance against its portrayal in “The White Lotus” highlights the complex interplay between institutions and creative works, especially when the depiction does not resonate with their values. As provocative narratives continue to challenge the norms in media, institutions must navigate their identities carefully in the public sphere.