The haunting, primal sounds that became synonymous with HBO's critically acclaimed satire The White Lotus will be absent from its next chapter. Emmy Award-winning composer Cristobal Tapia de Veer has officially confirmed his departure from the series ahead of its third season.
In an exclusive statement, the Chilean-Canadian composer revealed to The Independent that he will not be involved in the new season, which is set to film in Thailand. This news confirms swirling rumours amongst the show's dedicated fanbase, who had grown to love his distinctive, percussion-driven scores for the first two instalments.
An Iconic Soundtrack Comes to an End
Tapia de Veer's work on The White Lotus was nothing short of revolutionary. His score, a mesmerising blend of tribal rhythms, ethereal vocals, and unsettling textures, was a character in itself. It perfectly underscored the show's themes of wealth, privilege, and underlying menace, earning him a Primetime Emmy Award for Outstanding Music Composition for a Limited or Anthology Series, Movie or Special in 2022.
Fans will remember the instantly recognisable main theme, a track that became a viral sensation and set the tone for the luxurious yet deeply cynical world creator Mike White built.
The Reason Behind the Exit
While specific details behind the creative split remain undisclosed, the composer's statement suggests a simple conclusion to his collaboration rather than a contentious split. His unique sonic palette, which defined the atmosphere of the Hawaiian and Sicilian resorts, will now give way to a new musical direction for the Thai setting.
This departure places significant pressure on the production to find a successor capable of crafting a score that is equally evocative and memorable, without simply imitating the sound that came before.
What's Next for The White Lotus?
With production on Season 3 slated to begin shortly, the search for a new composer is undoubtedly a top priority. The new season promises to explore a new group of wealthy guests at a different White Lotus property, this time focusing on themes of spirituality, death, and Eastern religion.
While the backdrop shifts to Southeast Asia, the absence of Tapia de Veer’s musical genius marks the end of a significant era for the show, leaving big shoes to fill for whoever takes on the scoring duties next.
