#let’s get some Ted Lasso Belief in here

[lenacopperleaf]

You know what. We’re going full 8u hockey on this situation. I hope next game that Sammy G gets a lot of minutes cause I love him and I want him to be thriving skin glowing crops watered. And I hope Nate gets lots of play time with Jo and Mikko and that the moose line is goofy. I want the roaring 20s line to have a party on the ice with Kivi and LOC looking on wistfully. Gabe can be cheering the team on from the box with EJ (cause I miss him). Georgie pulls a mighty ducks two move and dresses as a dman to score a goal or something idk.

I honestly just want the avs to have a little bit of fun cause…I don’t feel like they’ve been having any fun at all the past two games. And I know it’s their job and it is serious and competitive to them and like yeah no I get it. I want you to be focused for sure. But also like…remember the joy and whimsy? Remember that your job is to play a game professionally? How cool is that?? How special is that? Have fun and be silly guys

[transpeculativefiction]

Okay so let’s talk about dramatic irony.

Colin’s big Flaw right now is his inability to be himself. This impacts his relationships with team members and also his football playing.

Ted’s speech from a few eps ago where he says “without shame” and the camera focuses on colin? that is where this flaw ties in with his growth as a football player.

We have seen colin make mildly homophobic remarks in the locker room “okay i’ll fuck zava”.

We have seen moments like this increasingly this season as the audience becomes aware of his sexual orientation.

This provides the audience with dramatic irony. The irony is that we know he is saying this to hide as a gay man but the characters in the scene do not.

We also know that what colin is doing is harmful to him. but he is unable to see that. all he is able to do is protect himself.

This episode is the first time (iirc) that we see him say something misogynistic instead of homophobic.

“i know what i’m doing this weekend”

to colin, this is not different. To most of the other players, this is not different.

To us, the audience, this is worse than what he was doing before. He is no longer weaponising homophobia (something he is a victim of) but misogyny (which he is not). you might argue that isnt worse but personally it rubbed me the wrong way and i think a lot of people would agree.

Importantly, some of the players on the team are also opposed to this misogyny.

At this point colin stops joking, and starts defending his real opinion (he shouldn’t have to delete his personal files just because they might be leaked).

This is an issue that some members of the team have beliefs about.

Jamie, Sam, and Isaac, stand up for women by making it clear that keeping nudes when there is a high risk of leaking is not okay.

But colin has skin in this game. Usually, he is never “real” in conversations like this. But this time things are different. He wants to keep the photos.

we see him defend this position by mentioning “memories.” this shows us that his desire is not lustful but sentimental in nature. i’ve seen others point out that this is a facet of his identity (that he is unable to outwardly express!). The photos mean something to him and he is angry at the idea that he is doing something wrong by keeping them.

I don’t think we have ever seen him defend an opinion genuinely before as the audience? In s1 he was pretty much trying to impress jamie. there was one comment about welsh pride but that came across as a joke. (Ted lasso writers make colin more welsh challenge)

And the first time he breaks his facade, the first time he shows his real face, he gets outed.

If he hadn’t cared about the photos he would have stopped arguing, stayed quiet and nodded along. made a joke maybe. something we’ve seen him do many times before. but he was honest about his opinions, so isaac was able to tell he hadn’t deleted anything when everyone else was.

SO: dramatic irony.

The audience knows that he wasn’t being serious with his first comment. “I know what I’m doing this weekend”

We know that that was a joke meant to act as a hyper-masc, homophobic, misogynistic shield in order to disguise his true self.

But the rest of the team do not know that. Issac does not know that. He has probably been making “jokes” like this, off camera, for years.

He leaps straight from a joke about masturbating to leaked nudes, to defending keeping photos that he knows there is a risk of leaking.

We, as the audience, know that he only wants to keep photos.

But Isaac thinks he might as well be defending the leak.

When Colin says “fuck off” to Isaac, he prompts him to take his phone. Isaac is acting the responsible team captain, here.

From what information he has, it just seems like colin is completely out of line. He’s defending misigyny, probably risking the safety and privacy of multiple women, being uncharacteristically rude and angry about it.

He probably has to deal with toxic behaviour from team members all the time. His own captaincy has been a source of growth for him, from the bully he used to be, to someone who tries to make sure everyone is behaving respectfully and as a team.

In any other situation I would want him to take the phone and delete the photos.

But he didn’t know that Colin also needed privacy. And colin was unable to express that to him as someone who is desperately hiding parts of himself.

So Isaac takes the phone. 

I think this all explains Isaac’s reaction. Confusion, nods, leaves.

He is confused because he is learning that this interaction is absolutely not what he thought it was. He nods because he accepts that, bc it’s a totally different situation than he thought, he doesn’t need to delete the photos. then he leaves, because what else is he supposed to do.

And colin is left knowing that his slip-up (the first time we see him express a sincere and deeply held emotion in front of the team) caused the very thing he was so afraid of happening.

EDIT: oh also the irony of how isaac invades colins privacy while trying to protect other people’s because he doesn’t think of colin as someone who needs privacy from him. I allude to that but i meant to make is clearer. EDIT 2: corrected spelling of isaac

[olivieblake]

Okay bestie I know you watch Ted Lasso…how you feeling after the finale? I have thoughts but I don’t want to put them here nice in case you haven’t watched it yet because I don’t want to spoil anything by accident

you know, I definitely have a lot of narrative criticisms, but I feel like all the thinkpieces on what ted lasso should have done or how its characters were wronged are just... robbing me of my joy, you know what I mean? I fight too hard in my daily life for the moments of happiness I got to have while watching. I like what the show has to say about masculinity, and that if you give people space to honor their feelings, the space itself creates a cycle of kindness and sincerity and the belief that human beings can always become better versions of themselves. I had the thought the other day while I was scrolling twitter that as much as I do think the nate storyline was undercooked at best (at BEST) and the keeley storyline was so thin I couldn't actually say what it even was, ultimately I felt aware of my heart every time I watched the show, and I want to hold on to the way it made me feel. also I remember reading that the episode with keeley's video leaking was actually written by the woman keeley was named and modeled after, so maybe some of the writers knew it was their last chance to say something important and they just wanted to let those things be said. while I think the season was not as strong or narratively consistent as it should have been, I'm going to choose to hold the things I loved in my head and hope that the people who wrote and portrayed those characters I loved so much get a chance to do something worth loving again

[twobrokenwyngs]

when ted lasso is good, it’s pretty good. but when it’s not, dear god, it is unspeakably, egregiously bad.

I can’t hold this in anymore.

I hate the Colin/Isaac storyline.

there’s just so many things about it that suck beyond belief:

from the very beginning, Isaac has acted completely out of pocket. let’s start with how he found out: who rips a phone out of someone’s hand? he had the gall to snatch Colin’s property from him and then be upset about what he saw? even more nonsensically, he was on a tirade about privacy at the time!!! so the hypocrisy was… astounding. and that’s on top of not even allowing Colin to so much as leave the room without jumping up his ass. his behavior was rude and best and appallingly socially inept at worst.

Isaac apology count: 1

upon seeing whatever compromising thing he saw, Isaac immediately marches off, scowling. he proceeds to shun Colin entirely. won’t acknowledge him, even in a professional capacity. treats him like a pariah, an outcast, and with glaring resentment. worst of all, he refuses to so much as be touched by Colin - goes out of his way to ensure their hands aren’t touching during the huddle, emanating signals that he both rejects Colin, and is entirely repulsed by him - something every closeted queer kid fears above all else. yeah, that’s how you treat a friend who you just discovered sensitive personal information about without their consent.

Isaac apology count - 27

when he finally does confront Colin about everything, he continues to make it entirely about himself. how could Colin have not told him? Colin LIED to him!!1!! zero concern for what Colin was experiencing that kept him in the closet up to this point. Colin proceeds to explain - though he was 99% sure Isaac would accept him, that leftover 1% had him terrified. welp!! by treating Colin with anger and disdain after learning the truth, all Isaac did was validate that very concern. he acted exactly how someone who fell into that 1% would act, thereby affirming Colin’s fears and proving he wasn’t a safe person for Colin to tell in the first place.

Isaac apology count - 3718

great! now that we got that out of the way, let’s talk about the apologies that the show owes the general public, for undermining the audience’s intelligence and sense of logic.

all of that bullshit above? had NO payoff.

so Isaac demonstrating furious homophobic behavior was supposed to be some sort of … misdirect? this is the level of cleverness we’re working with here? was ANYONE, anyone on EARTH, supposed to believe that in this, the Nicest-People-To-Ever-Live Show, the Toxic-Masculinity-Doesn’t-Exist Show, the Men-Supporting-Each-Other-To-A-Fault Show, there was even the slightest most microscopic possibility that Isaac was going to actually reject Colin for being gay? like, no fucking shit Isaac supports him, lmao. so, what was the point of any of that? how stupid does this show think we are?

this show is truly trying to posit that Isaac, arguably the most confrontational character of all, will run into the stands and beat the shit out of a fan, get kicked out of the game and sit in the locker room trembling with rage, but he absolutely refuses to… (checks notes)… talk to his friend?

and after all of it — Isaac behaving like a self-centered homophobic asshole, whose motivations are so illogical they’re borderline cartoonish (I was waiting for him to drop an anvil on Colin any second, just to really drive the point home), all for the sake of this idiotic red herring, only for them to wrap it up with a conclusion that only validates Isaac’s feelings as the Poor Wounded Straight Friend while disregarding all of the unnecessary harm done in the interim — after ALL THAT, we are supposed to be left feeling… good? heart-warmed? like?????????

show apology count - 9284627275217021

the whole thing was just so insulting. not just as a queer person, not just as an enjoyer of well-written narratives, but as a human being with at least half a brain.

oh well.

[luciusspriggss]

i am going to acknowledge to everyone witnessing my livebogging my decent into madness right now (sorry if you thought it was going to be over when i woke up)

i relate heavily to ted lasso (scroll down until ted lasso meta begins if you don't want to read my background and perspective)

i was in a relationship with someone who was unhappy with me and didnt like how supportive and optimistic i was (or the fact that i wanted some courtesy of respect instead of being dismissed whenever i try to talk about my feelings)

i thought i was quitting. i thought i had given up. that i had failed so spectacularly at this relationship. and then i watched michelle tell ted that he wasn't quitting, he was letting her go and i believed her

and tried focusing my attention on being a better version of myself that i liked, while also helping those around me to the best of my ability

yeah i went through a fuck ton of therapy (note the breakup was 2 months ago), and i feel i am a better person overall and i actually like myself for the first time EVER in my life

i have lead crews the same exact way ted does richmond. i never read any leadership books, i didnt take my fellow leader's out-dated toxic advice, i just did what i thought was right

which was helping everyone to be the best versions of themselves, as well as lead themselves without me so they don't need me to do anything for them, i just exist and make sure everyone is okay in life and is happy with the crew's dynamic and take suggestions on how to make things better

(dont even get me started on the fact that i BUILT a confession box for EVERYONE, not just my crew, to make suggestions they would like to see happen at the work center and on their own crews)

and everyone did get better. everyone was happier and the work was done better than before, without ever focusing on trying to get "results"

i was lucky to do this because my supervisor actually listened to me, and let me experiment with leading my way instead of the way everyone else was

but me? i was miserable. i was with another person who didnt like my optimism and thought i was naive for thinking my way would work. i had no support network. and i eventually attempted suicide and left that job.

and did everything magically work after i left?

no

the systems and belief i brought to the center died. new leaders were appointed who went back to the standard old ways of leading and everyone followed

MULTIPLE people i was working with individually outside of work, who were having really hard times and i tried to help them with their feelings and appropriate outlets, and were really improving while i was there, were ALL fired. and to note, i convinced multiple supervisors to let me try and help people out instead of punishing them for their circumstances, and it worked!

until i was gone, and they lost the only leader that was in their corner and believed in them

i created an entire new system for the center council. my technical position was "secretary", but i did EVERY job on that council because nobody else would. sure the president would lead the meetings and read my notes and plans aloud to everyone, but that was all he did. i did the actual work

i created such a loving supportive network at the expense of my mental health

and it did not get better when i left, for anyone. it got worse, for everyone

META BEGINS HERE

so yeah, i see myself as ted. i was so hopeful i was going to see something actually succeed where ted got to stay and work on finding his own happiness, that i am utterly unimpressed with the ending.

ted goes back to his kid and (maybe) ex-wife? hollow? alone? trying to think everything will work out magically without him and nobody needs him except his son? maybe he and his wife will try again? with him masked?

ted wore a mask in the beginning, everyone did, but it came off for a little bit and it was nice to see. i don't like this new mask.

and i know from experience. because i did the same thing. i left people because i didnt think they needed me anymore. i stayed in relationships with people who wanted to fit me in a box and i let them.

i lived a honky dory life. leaving destruction in my wake and regressed to someone that was almost impossible for me to escape.

i just don't like seeing that ending for ted and only HIS hopes and dreams about everyone else. i genuinely believe people will succeed without him, i just dont think it will be the same. and that's cool, but wouldnt it also be cool for ted to let loose, reap the rewards, figure out his own happiness? all the while being part of an amazing family?

this show is either brilliant, and making a statement about how this show ISNT a good light-hearted comedy, it is actually a TRAGEDY, and we are supposed to see that ted chose to regress and accept a miserable life

OR

there is something that i am missing :/

[mandoalorian]

I Believe In Love [Maxwell Lord x F!Reader] — Four: Lies

Summary: When you find your calling to leave Themyscira, you venture out to the World of Man with intentions of helping and healing a very specific person's relationship with his son. You've heard his voice before, but only in dreams. You've felt his pain and anguish and you've never been able to relate to anything more. But things don't come easy for you, and they certainly don't come easy for him either. [This series contains spoilers for WW84 and is my interpretation of what happens after the movie ends].

Warnings: brief mention of blood, allusions to an abusive household/family, mention of child custody battle, 80s typical misogyny, cursing.

Word count: 5,200>

Masterlist

I Believe In Love Masterlist

Previous - Chapter Four - Next 

-—-—-—-

He'd lied. You read the name over and over again, the crumpled letter shaking in your hands. Lorenzano. Lorenzano. Lorenzano. He wasn't Max Lord, he was Maxwell Lorenzano and you had no idea how he could lie to you - or better yet, why he would lie to you? There was a reason for everything. You might’ve been new to the world of man, and you might not yet understand their conditions and way of life, but it didn’t change the fact that this hurt. He was your first friend - your first real friend who wasn’t a child. He accepted you into his home, and he even believed you when you told him who you are. You had opened up about being a literal goddess from the secret haven Themyscira, and he hadn’t even told you his real name.

And then, your visions of him… memories and dreams… they hit you one by one. Now you could finally put a face to the voice that had been haunting you. He was the child you saw when you had fallen asleep in Black Gold Cooperative, the child who was getting bullied for the clothes he wore, and his shoes. You felt foolish not realising it sooner. The image of ‘Little Lorenzano’ getting tormented perfectly paralleled the way Alistair had gotten cornered in the park earlier today. Your heart ached for them both.

Max Lord was clearly putting on a brave face in front of you. But now that you knew who he really was, you knew that he was deeply hurting, and he needed your help. He might not realise it, but this is why you were here. You’d come to the world of man to fulfil your duty as the Goddess of Home and Hearth for a reason and Zeus had deliberately connected you with Alistair and Maxwell. This was your purpose. They were your purpose.

You smoothed out the letter to the best of your ability, deciding that if you were to help him, you should probably read it. You had hope that it would help you understand things and allow you to piece together the puzzle. You glanced back at the speckles of his blood in the sink, and the smashed vase on the floor. Whatever was in this letter had clearly angered him.

I, Theodore Thomas IV, share a bond with Miss Grey and recognise that she is a caring and devoted mother. We are in full belief that Alistair Lorenzano would be better off, in the care of his biological mother.

A bond. You were quickly able to identify that Julianna Grey was the mother of Alistiar, although the bond between she and Theodore Thomas IV had not yet become clear to you. Your heart would usually find warmth in the revelation that Julianna was, in fact a ‘caring and devoted’ mother, but instead it grew cold. As the goddess of home and hearth, you could sense the lie in his words. You wanted to believe that Julianna was a good mother, but your intuition said otherwise. These were your powers - and there was no way you were wrong about this. Despite the immediate concern you had for Allistair, you pushed the feeling to the back of your brain and forced yourself to continue reading the letter.

Mr Maxwell Lorenzano and Miss Julianna Grey divorced on the seventh month of 1980 after being married for two years. Miss Grey notes that their relationship was strained since the beginning, with Mr Lorenzano too preoccupied with his career to focus on his family.

Marriage - Max and Julianna were married. It was something you had read about back on Themyscira when you had spent time educating yourself on the ‘way of man’. Marriage was, supposedly, a sacred ritual that joined together the spirits of two people in the name of love. And love was the fundamental principle that would create a family. At the core of a family, was love, and that was the most important thing. Your eyes flicked back up the final sentence of the first paragraph; “We are in full belief that Alistair Lorenzano would be better off, in the care of his biological mother.” You couldn’t help but shake your head profusely. These people wanted to take Alistair away from Max? There was no way. Theodore may think that Julianna deserves Alisitair, but it was never going to be about ‘deserve’. It could only be about love. And you knew for certain that Maxwell loved Alistair with his whole heart.

I have known Miss Grey since 1980, after working on her and Mr Lorenzano’s divorce case. As not only her partner, but also a trusted lawyer of our capitol’s legal enforcement, I can whole-heartedly ensure that sole custody of Alistair Lorenzano must be granted to Miss Julianna Grey.

Divorce was something you weren’t so familiar with, and you figured it should be something you ask Maxwell about at a later date. It was at this moment you learned that Theodore was Julianna’s partner, lover, even. No wonder he thought so highly of her. There was no question about it. You knew you had to pay Julianna and Theodore a visit to see for yourself. You had to see the truth.

Please find us at the District Columbia Court, D.C., in one week from the date stated on the letter. If you make no effort to show and fight your case, you will be banished from seeing Alistair until he turns eighteen years of age.

Banishment? The thought of splitting up Max and Alistair filled you with the most excruciating pain. You couldn’t let this happen. You wouldn’t let this happen.

Sincerely,

Ted

So Theodore was Ted and Maxwell was Max. If you had known that names in the world of man could fluctuate so much, maybe you wouldn’t have gotten mad so mad at Max for lying about his name. After catching the address on the envelope, you engrained it in your memory and carefully folded up the letter and placed it in the pocket of the Maxwell’s pinstripe shirt that he had given you to wear. Now you just had to figure out a way to get to the address on the letter.

You spent some time sweeping up the shattered glass on the floor, and cleaned up the sink before padding back into the living room and sliding your feet back into your gladiator sandals, buckling them up. You even picked up the lasso of truth and tied it around your waist so it acted like a makeshift belt on you. There was no way you were going to leave it behind. You took another look at the photo frame that was on the small table next to the couch and picked it up. You smiled as you felt the exact same love that Maxwell felt when he was in the photo, holding baby Alistair. Just looking at the family portrait filled you with so much joy. You knew that Max’s love for his son was genuine.

Turning the frame over, you opened it up and took the glossy polaroid out, placing it in the same pocket of your shirt. You loved the photo and you wanted to take it wherever you went. 

It was cold outside, and the sky was a deep shade of blue. There was definitely a draft, and you wondered if you should’ve changed back into your Amazonian warrior gear. The oversized shirt that Maxwell had given you, as well as the gladiator sandals, didn’t really provide you with the greatest amount of warmth. You weren’t even wearing anything on your legs.

A small old lady with a zimmer frame was walking down the street. “Oh wow!” she exclaimed, looking you up and down, presumably judging your outfit of choice. “You have very nice legs, but aren’t you cold?”

You looked down at your legs, noticing the goose pimples, and nodded in confirmation. “Yes, but I’ll be okay. Do you think you could help me with something?” you asked curiously, watching as she raised her eyebrows.

“Me? Help you? What could little old me-”

You took the letter out of your pocket and pointed to the address. “How do I get here?”

She adjusted her glasses and squinted. “Thomas Family Lawyers,” she read out loud, before turning back to you. “Honey, this law firm is on the other side of Georgetown. You best call a cabbie, especially this late in the evening.”

“A cabbie?” you asked, shivering in the cold. “I’m sorry… I’m not from round here.” you shrugged helplessly.

“Let me help you.” the old lady said, reaching into her purse and bringing out an enormous 1984 brick-like cell phone. The contraption shocked you, and you even wondered how she had fit it in her bag. She pulled out the antenna and began to dial a number. “Hi, could I get a pre-paid taxi to Thomas Family Law Firm, Georgetown? Thank you,” She put the phone back in her purse and offered you a smile. “A cab won’t be long. I’m Mrs Stagg, by the way. Might I enquire… why are you going to a family law firm when you’re not even from the area?”

“To help a friend.” you returned the smile.

“Does your friend live in this neighbourhood?” 

“He does. Um… his name is Max Lord?” you explained but the way it left your lips made it sound more like a question. Lord? Lorenzano? What difference did it make?

“Ah,” was the small sound that emitted from Mrs Stagg’s throat. “Max Lord, the oil guy. My son Simon is- was an investor for Maxwell’s company. From what I heard, the company is bust. A joke. Max Lord has been scamming the entire nation for years.”

“Scamming?” you asked, confused. “I don’t understand.”

“Black Gold Cooperative have shares in oil fields all around the world, only, the oil fields have completely dried up, you know - with the Cold War and all. But he kept going… kept making those silly infomercials and selling his dream. ‘Anything you want, you can have it.’ or something like that.” Mrs Stagg scoffed, shaking her head incredulously. You recognised the quote from when you had seen him all suited up on the television. 

“I don’t… I don’t understand. Why would he lie to the whole country?” you beckoned further, despite the conversation bringing you some uncomfort. Max had seemed like a genuinely good guy and a loving father up until this point. 

“For money, I suppose. That’s all it’s ever about with folk like him. Money. I chastise my son for it too. He’s the CEO of Stagg Industries and the only reason I could live in such a beautiful neighbourhood like this one. He bought my home here,” she beamed proudly. “But, I don’t know much about Max Lord. Don’t really see him around on the streets either. He must be cooped up in his office most of the time. Hey, you’re his friend. Maybe you should ask him why he’s nothing but a low-life conman.” 

Her words stung, and they weren’t even about you. You were completely lost for words, and surprised that she had so much hate in her heart for Max. Granted, if he was rivals with her son, it would make sense, but she did raise many questions that concerned you greatly. When the taxi pulled up, she paid the driver and helped you into the passenger seat. “I don’t know Max Lord,” she whispered from the other side of the car door. “But please darling, be careful.” She warned you before the cabbie whisked you away.

Your concept of time was slightly askew, but you figured the journey to the law firm lasted twice as long as the journey from Black Gold to Max’s home. You looked out the window taking in the stunning city at night. The buildings were all lit up and reflected against the windows, creating a glitter in your eye. There was nothing like this on Themyscira. No tall skyscrapers, no enormous shopping malls or company buildings. D.C. was booming, and it was beautiful. The journey allowed you to process Mrs Stagg’s words and think even more about Max. Clearly, both Julianna and Theodore had their reasons not to like Maxwell, and now, so did Mrs Stagg and her son Simon. You had to speak to Max and confront him. You knew there was more to him than what meets the eye.

Thomas Family Lawyer’s was a big building, not as big as Black Gold Cooperative, but it was still big. Just as you went through the revolving doors (which you had now grown accustomed to, due to your time spent and Max’s office) a group of girls began to file out. Whilst Raquel had been somewhat confused by your presence, these girls shot you the most evil of stares.

“Do you know what time it is? Office hours are closed. Why are you here?” One girl with sleek black hair spat coldly. You practically winced at the malice in her voice.

“Oh, I’m here to see Theodore Thomas?” you said slowly, nervously biting your lip.

“Who are you?” quizzed the same ebony haired girl.

“I’m a friend of Max Lord.” was the only thing you could come out with. Maxwell had warned you to refrain from identifying yourself as the ‘goddess of home and hearth’ in front of the public. He told you that people won’t believe him like he does, and that they’ll think you’re crazy. You had no choice but to believe him.

“Max Lord!” a red haired girl gasped, and a shorter blonde girl slapped her hand over the redhead’s mouth. “Sorry,” the redhead muffled as the blonde girl removed her hand. “He’s just so sexy.”

“But you know we’re not supposed to like him.” The blonde girl hissed.

“Huh?” you asked, knotting your eyebrows together. “Not supposed to?”

The ebony haired girl let out a longing groan. “Will the both of you just shut up?” she grimaced, glaring at the other two girls before looking back at you with that same mean stare. “Turn left, his office is the big one at the bottom of the corridor. You’re lucky he’s working late tonight.” 

“Yeah, on his girlfriend’s case.” The redhead said weakly.

“Can you not keep your mouth shut?” Snapped the black haired girl. “Why would you say that in front of this hobo stranger when she’s just said she’s Max Lord’s friend. She doesn’t need to know that Mr Thomas is working on the custody case! It’s a wonder he hasn’t fired you yet for being so stupid.”

You had zoned out of the pointless conversation about mid-way through anyway. Those girls were nothing but rude to each other anyway. You slipped past them and down the corridor until you reached two double doors, not hesitating for a second to open them up.

There, with his head buried down into a pile of papers, was a dark haired man in a tight fitted suit. He abruptly looked up when you had entered his office, his mustache wavering in bewilderment as he took in the appearance of a girl who was wearing nothing but an oversized button up shirt and brown strapped gladiator sandals. “C-can I help you?” he gulped, relishing the sight of his body like it was the sweetest view he’d ever come across. You crossed your bare legs together awkwardly, feeling slightly vulnerable by the way he was staring at you. 

“Are you Theodore Thomas IV?” you asked.

“I am.” the dark haired man confirmed, shuffling around in his leather seat.

You nodded, turning around to close the double doors behind you and walking over to his desk. You took out the crumpled up letter that had been addressed to Maxwell Lorenzano and slid it over the expensive oak wood. “What is this?” you questioned. Theodore took out his reading glasses before analysing it.

“Where did you get this letter?”

“Max Lord is my friend.” you gulped, folding your arms over your chest. “And this letter…”

“You mean Maxwell Lorenzano?” Theodore scoffed, rolling his eyes. “Listen, I’m not here to discuss that low-life loser, okay? I have more pressing matters to deal with.”

“So do I.” you persisted. “This letter…”

“Unless you’re his lawyer, and I doubt you are,” he snarled, looking at you up and down with the utmost disdain. “I will not be discussing the letter with you. Friend or not, it’s confidential.”

“I’m here to help him.” you gritted out, unable to believe the anger that dripped from your own tongue. It was true, you were angry. You were angry at the way everyone was so against Maxwell Lord, and you were angry at the fact the reason remained so unclear. Every new person you met didn’t like him, and you just wanted to know why.

Your words did pique the curiosity of Theodore, however. He raised an eyebrow and leaned over his desk, his gaze not breaking from you once. “Help him? You mean, you’ll be representing him in court?” You weren’t sure what that meant, but you nodded your head. If this was the only way you could get information out of Theodore Thomas IV, then so be it. “Do you even have any legal experience?”

“What? No. I told you, I’m just his friend.”

Theodore let out a boisterous laugh, the level of volume making you flinch. “Shit, he can’t even afford his own lawyer. I didn’t realise it was that bad,” he assumed. “Excuse me for one second.” he pointed a finger and dialled a number on the telephone.

Meanwhile, Maxwell was Julianna’s home. When Alistair heard his dad’s voice, he came running downstairs to greet him. “Daddy!” he called excitedly, running into his father’s arms. “You came back!” Maxwell picked up Alistair and spun him around, pressing a loving kiss to his son’s forehead.

“What do you want Maxwell?” Julianna sighed, tapping her foot impatiently against the marble floor of the lobby.

“To talk,” Max answered, placing Alistair back down on the floor. “Just us two. Uh- is Ted here?”

“Lucky for you he’s working late at the firm. Working on our damn case,” Julianna shook her head before turning to face her son. “Alistair, go to your room.” she commanded.

“But I want to see daddy!” Alistair cried, tears pricking his dark brown eyes.

“He can stay.” Maxwell negotiated but the comment was completely lost on Julianna.

“Go. To. Your. Room.” Julianna barked angrily, which sent a frightened Alistair running back to his bedroom.

“Shit Julianna, he’s just a kid. No need to talk to him like that.” Maxwell frowned, his ex-wife’s tone reminding him of his own father’s.

“Now Maxwell, I know you’re not giving me parenting advice, are you?” she asked sarcastically. Maxwell noted how bitter she had become, or perhaps, how bitter she always was. “I’m assuming you’re here to talk about the case. Try and change my mind. Well, you can’t.”

“Julianna, I know things have been rough between us since the divorce but I just want what’s best for Alistair. I love him so much.” Maxwell revealed.

“Bullshit!” Julianna scowled. “All you do, Max, is speak bullshit. You want what’s best for him? You’ll allow me and Ted to have full custody of Alistair. You’re a shit father and you know it.”

“I know- I know I’m messed up. I mean, I’ve messed up in the past but, something happened. Something inside me woke up and I’m ready to step up Julianna. I’ve changed, please just believe me. I love Ali-”

“You don’t deserve him,” Julianna growled. “You know what Maxwell? You’re nothing but a deadbeat. Just like your father was.”

Maxwell felt his face turn red with rage at his ex-wife's comment. He clenched his fists so hard his knuckles had even turned white. “I am nothing like my father!” Maxwell yelled defensively as the anger bubbled within him. He wanted to cry. Every time a memory of his own abusive father came up, it made Max want to curl up into a whole and cry. It broke him.

Before Julianna could reply, the phone on the wall began to ring. Julianna answered it.

“Hey, Julie?” Theodore was on the line, still laughing from his talk with you. “Baby, you won’t believe this.”

“What is it?” Julianna asked hesitantly, twirling the wire of the phone around her finger.

“Some girl- some half naked girl is here- in my office claiming to be a friend of Maxwell,” Theodore spluttered. You frowned at his tone of voice as he talked about you, right in front of you. Julianna turned to Maxwell in bewilderment, who was just standing there and had no idea what was going on. “She’s saying she’s going to represent him during the custody trial.”

“What?” Julianna spat. “Who the fuck is she?”

“I don’t know! Never seen her in my life. Pretty little thing though, I guessed maybe he’s fucking her? Not sure. She says she’s living with him.”

“Living-” Julianna couldn’t help but repeat her boyfriend’s words. “Teddy, Maxwell is here. Right now. Can you come home and… bring her with you? I want to have words with her.”

“Got it. See you soon sweetie.” Theodore finished before hanging up the phone.

Julianna turned to Max. “That was Theodore. He says some half naked girl has shown up to his office claiming to be a friend of yours.”

Maxwell’s eyes went comically wide as his greatest fears became realised. “What? No, no- there’s no way. That’s impossible. I told her to stay at home- how the hell did she get to Thomas Family Lawyer’s?”

“You’re asking me?” Julianna gasped in disbelief. “Who the hell is she, Max?”

Max was so confused and shocked, he couldn’t even find words. If you had found your way to Theodore’s office, that meant you had read the letter. It also meant that you knew his name. And finally, it meant that you had completely invaded your privacy. Part of Maxwell was mad, but an even bigger part of him was confused as to how you ended up on the other side of Georgetown in the office of his ex-wife’s current boyfriend. You weren’t even from round here, hell, you’d only gotten into a car for the first time today. Julianna and Theodore weren’t the only ones who had a thousand questions. Maxwell did too.

When you arrived at the Thomas family home, you looked at it with complete adoration, just like how you looked at Maxwell’s home. It was extensive in size, with beautiful pillars and adorned with flowers on every corner. Maxwell and Julianna were waiting for you and Ted in the dining room. Ted hung up his suit jacket on the coat peg in the lobby and you slowly followed him into the dining room. Unlike Maxwell’s home, which was covered with photographs of Alistair, you couldn’t spot a single picture of the bright eyed child in any of the rooms you passed. You wondered why.

When you entered the room, Julianna’s and Maxwell’s jaws both dropped in unison. “She’s wearing your shirt!” Julianna screeched, pointing her finger accusingly at you. 

“Yeah? So fucking what?” Maxwell shot back. “I didn’t realise you can police my wardrobe now!”

Your gaze flicked between Maxwell and Julianna who were already arguing with each other. "Can we settle down?" Theodore intervened, placing his briefcase down on the table.

Maxwell turned to you and took a deep breath. "Why- why didn't you put on some clothes before you left the house?" he sighed, closing his eyes as he tried to keep his composure.

"I- I didn't have any clothes and. I didn't know if it was normal to dress like this in the world of man." you admitted sheepishly, feeling embarrassed that you'd made a fool of yourself and seemingly Maxwell too.

"The world of what?" Julianna scrunched up her nose. "She has no clothes? Maxwell, where did you pick this whore up?"

You stiffened up at her harsh words and Maxwell's dark eyes snapped open. "Don't call her that," he warned. "She's… different. Look, I can't explain now but-"

Julianna turned to Theodore. "I want her out of my house. She's a fucking prostitute."

"She's not a prostitute," Maxwell sighed, running his fingers through his dark blonde hair as the stress engulfed him. "She's just a friend."

"I want her out." Julianna reiterated, her voice like venom.

"I- I can wait by the car," you told Maxwell timidly. He didn't reply, instead just putting his head in his hands. You turned to Julianna and Theodore. "I apologise for any intrusion I may have brought upon you both." you said before walking away.

Even before you got to the front door, you'd heard them start fighting again. Maxwell wasn't yelling, but Julianna was so loud and accusing. You couldn't help but feel like she brought around such a toxic environment.

As you leaned against Maxwell's car, you looked up at the upstairs window. It was illuminated, signifying that the light was on. It was so cold and you couldn't help but sigh as you waited for your friend to return and take you home— if he still liked you, that is. After everything that had gone on, you wouldn't be surprised if he just left you on a street corner to fend for yourself. 

You were delighted when you saw Alistair in the illuminated window. He poked his head around the curtains, smiling and waving immediately when he saw you. You grinned back, thankful to see the sweet boy and to know that he was okay. The smile on his face dropped and although you couldn't hear what was going on back in the house, you could tell by his expression that there was something wrong. Alistair disappeared from the curtains and you began to untie the lasso of Hestia from your waist. Swinging the rope around in the air, you attached it to Alistair's balcony and swung yourself up to the third storey of the Thomas family home. You quietly tapped on his window. After only a few seconds Alistair returned and let you in.

You clambered back into the house, finding yourself in the little boys bedroom. "Hey Alistair, how you doing?" you smiled, kneeling down and giving your friend a hug.

"I'm good, I'm so glad to see you again!" Alistair confessed with a toothy grin. "How did you get up here?" Alistair asked curiously, stepping out onto the balcony and looking at the long way down from where you had been standing by his father's car.

You gulped. "Can you keep a secret?" you whispered. Alistair nodded enthusiastically. "Okay." you showed Alistair your lasso, and he watched it with bright eyes as it glowed gold. If you could trust Max, you knew for a fact you could certainly trust Alistair. After all, they were your purpose. They were the reason you had found yourself in the world of man.

"Whoa, what is it?" Alistair asked, pointing his finger hesitantly, as if he wanted to touch it but not sure if it would hurt him.

"It's magical," you revealed. "My mother Hestia gave me it. It lets people see the truth, and speak the truth. It knows when you're lying."

"...And it helps you climb up really tall buildings? Like Spiderman?" Alistair asked with wide eyes.

You giggled. "Yes."

"Can I try?" Alistair beckoned further.

"Maybe one day," you promised him. "It can be difficult to learn, but I'd love to teach you." 

You and Alistair both gasped as you listened in on what was going downstairs. You heard footsteps, and it sounded like Max was leaving. You rose to your feet and approached the window again, unravelling your lasso. "Hey, I have to go now. Listen, you can't tell Julianna or Ted that I was up here, okay? I don't think they like me."

"Oh, they don't like anyone who's associated with daddy." Alistair frowned, but nodded understandingly. "Are you going home with daddy?"

"I hope so." you replied, because there was really no way of telling where you stood with Maxwell at this point in time.

"Good," Alistair beamed, and in that moment, you recognised his smile to be the spitting double of his father's. "Because I like it when you're around daddy. He's not as miserable."

You tilted your head but had no time to question Alistair because you heard the front door open. Swinging back on your lasso, you attached it to the branch of a tree and dropped back down to the front of the porch where Maxwell's car was parked. Wrapping your lasso back around your waist, you pretended like you hadn't moved from the car— like you had been waiting for him this entire time.

"Good night!" Maxwell called but earned no response, only the slam of the front door. He sighed deeply and slumped his shoulders in defeat before turning to face you. His lips were curled into a frown and he shook his head as he approached you, sliding past you and unlocking the car door. "Get in." he told you, to which you obliged and slipped into the passenger seat.

Maxwell dropped his head to the wheel of the car in frustration. He wanted to scream. Cry. Yell. Curse. He hated this. He hated having to fight for what was already his. He needed Alistair— his life would be empty without his son. There was no question about it. And unfortunately for Max, he was beginning to lose all hope.

"Are you okay?" You asked, feeling as though the question was a stupid one considering the disheveled look on Maxwell's face. You placed a hand on his back with full intention to be comforting. He didn't reply. After a few seconds of silence, you heard his sobs. You heard his whimpers and chokes. "Oh Max." you whispered quietly, rubbing his back.

"I can't— I can't fucking do this," Maxwell cried, tears dripping down his cheeks and falling onto the steering wheel. "They're right— what they say about me— they're all right. I'm a monster."

You winced, shaking your head at his comment. "You are not a monster." you assured him.

"You don't even know me," Maxwell huffed before glaring at you, the tears still falling. "You're just— you're just some random girl who came into my life at the wrong fucking time and— I don't even know why you're here. Why are you here?" He said your name like it was poison and the desperation in his voice was enough to make your heart ache.

You swallowed. "When I found out your name, your real name, I knew for certain… Zeus brought me to you and Alistair for a reason. Everything is so clear now. Max, I'm here to help you."

"I'm screwed— we’re screwed. It's pointless. There's nothing we can do. We can't go up against them. Julianna is a fucking psycho and Ted is one of the best family lawyers in the state—"

"And I'm the daughter of Zeus and Hestia. I'm the Goddess of Home and Hearth and I will not let them rip you away from Alistair." you promised with pure determination in your voice. The change of your tone was enough to make Maxwell stop crying and look up to you like you were his saviour. His angel. And despite everything that happened, despite the feeling of complete hopelessness, he believed you.

The war began now.

-—-—-—-

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[mindibindi]

Super genuine question, istg. I understand people wanting to see diversity in their shows. Hell, I want to see diversity in my shows. But is it so problematic when a show’s main cast happens to be all of a certain race or ethnicity (NOT the whole cast)? I’m not saying it should be that way (the more diversity the better) but I don’t think it’s necessarily a problem when a show’s main cast is of a single race or ethnicity, especially when the other people of different races or ethnicities are well-written. It’s just like… the particular lens we get into that world. Our initial lens into Ted Lasso is the rich white owner and the white Midwestern coaches she hires to tank the team. And then we expand and learn more about that world just as Ted does.

(If you don’t feel comfortable answering that’s fine, or if I’ve come off terribly that’s fine (who knows I might wake up and be shocked at what I’ve written); but please believe me when I say this is an honest, well-meaning, genuine question.)

Hey Anon, I'm SO sorry, it's taken me FOREVER to get to this. It's partially because I was injured around the time this ask came in and unable to type very well, and partially because this question required a properly thought-out response. This is a pretty complex topic but I'm going to do my best to keep it simple and succinct. That said, my research area is feminist studies, comic theory/humour studies and literary criticism. I did a bit of critical media/film studies back in undergrad but someone else more equipped may wish to jump in if they have something worthwhile to add.

The crux of your question, as I understand it, is about the centring of the white man in western narratives. Your wording – “a single race or ethnicity” – could include narratives that centre people of other races and/or ethnicities. For instance, is there something inherently problematic about an African American sitcom? The answer to this, quite simply, is no. There is not. The problem with this wording is that it assumes people of all races and ethnicities have had an equal opportunity to tell their stories in a truthful, uninhibited way and to be represented onscreen to an audience that includes a range of people from both inside and outside their cultural community. We know this isn't true. So when, for instance, a show like Pose comes along, that focuses on transgender women and queer folk of colour in a particular community and at a particular time in US culture, it is not a problem that their focus is so narrow because this is a perspective we have rarely seen represented. However, in the twenty-first century, when yet another show comes along that centres the white male experience then yes, that does deserve critical attention.

Here’s why.

1. The Male Creator

Your question focuses on race but intersectional feminism tells us that race cannot be separated from gender, sexuality, ability and class. So when we talk about the white male perspective what we are usually talking about is the white, het, able-bodied and -minded, cis man of at least moderate means. Let's call him the whac man for short. Once we put all these qualifiers on him, it becomes clear that the patriarchy only elevates and celebrates a very select group of men. Yet despite the fact that the whac man is technically (in terms of numbers) a minority, he has dominated western narratives for centuries, and even infiltrated and influenced narratives in other cultures.

Some would have you believe that this is because the whac man is so damn extraordinary. He's brilliant, heroic, inventive, ingenious. He pushes boundaries, breaks new ground. He has succeeded in “writing” the world, “writing” culture, “writing” history and all due solely to his inherent worth and hard-won merit, rather than any structural advantage afforded him at birth. And when I say “some would have you believe” I mean he would. The whac man writes culture with the loudest voice in the world. He disseminates his beliefs further than any other competing belief can possibly be broadcast. He is patriarchy’s chosen son, rightful heir. And since patriarchy creates the soup in which we all swim, I totally understand why someone might ask this question. Because it seems normal to us, it seems natural, it seems even fair that the whac man continue to cast himself as the ultimate culture-maker and the innate centre of humanity.

2. The Universal POV

By continually casting himself as the centre of humanity – i.e. “mankind” – the whac man has configured his point of view as the universal point of view. He has done this with the sheer mass of narratives that view the world through his eyes, as well as by preventing other narratives from being heard by any means, including stealing, censoring, limiting or discrediting them. What this means is that every single person raised in a western milieu, despite their gender, gender identity/expression, sexuality, ability and class, is indoctrinated into seeing the world through the whac man’s eyes. Whether we like it or not, we are instinctively sympathetic to it, biased based purely on its pervasive familiarity. We therefore become unconsciously complicit in the whac man’s objectification of women, his homophobia towards gay, bi and queer people and his intolerance towards anyone differently abled or non-binary presenting. We are told that this is the only way to see the world, the correct way, the natural way, the best way. Because the whac man is the intellectual pinnacle, the trustworthy ideal, the unassailable core of humanity so if we identify with him, we can claim some of his power and perfection.

Obviously, this is a fucking fallacy. Because we all instinctively know where we fall in the patriarchal power dynamic. If a whac man is the ideal human then a white woman is one step removed from this ideal. As is a black man, a gay man or a disabled man. The more qualifiers you add to your identity, the further away you are from full and ideal humanity. You become less important, less powerful, less heard and less human. It’s pretty easy to see this reflected in the make-up of the Ted Lasso cast. Ted, as the ultimate whac man, sits at the centre of this universe and even gives it his name. Surrounding him is Beard, Roy and Rebecca (despite her gender but because of her wealth). The next step removed from him would be Jamie, Keeley and Nate (due to his position but despite his skin colour). The other men and woman (singular) of colour only really exist on the periphery of Ted’s world, with their main role to serve the profundity of the whac man's narrative. Just as in the real world, they are less important, less powerful, less heard and less human. They are narratively marginalised and ultimately pretty replaceable.

To be clear, I'm not saying that Ted Lasso is single-handedly responsible for this dehumanising of everyone who isn't a whac man. This is an accumulative impact that’s occurred over centuries but one that has very real modern consequences. Narratives are powerful. They are how we make sense of the world and ourselves within it. And we have had centuries of narratives, with very little respite, that centre the whac man as a universal figure we can all identify with. If you have grown up with streaming services, you may not remember a time when 85% of narratives were led by a whac hero. Maybe 10% centred on women, 5% focused on people of colour.* And the LGBTQI+ experience literally did not exist, except in coding. Unfortunately, that 10% that centred women was generally watched by women. The 5% that centred people of colour was watched by people of colour. And that 85% that centred on the whac man was watched by everyone. So while everyone was culturally encouraged to identify with the whac man, the whac man has never really been required to deeply engage or identify with any perspective other than his own. As such, there is abundant trust, empathy and allegiance flooding towards the whac man that is not necessarily reciprocated.

I'm not sure whether this has changed in recent years, with the supposed democratisation of entertainment offered by streaming services. There seems to be greater representation in programming but who is watching it? Is it enough to begin breaking down our cultural conditioning to instinctively inhabit the experience of the exemplary whac man? And is it enough to create understanding in a whac man who is so profoundly unattuned to the experience of anyone other than himself?

*these are anecdotal not official stats

3. Invisible Patriarchy

One of the most Insidious aspects of this universalisation of the patriarchal viewpoint is that it invisiblises the structures and impacts of patriarchy because the whac man doesn't experience them. The whac man never experiences sexism, homophobia, ableism or transphobia. These are not barriers for him. He must, in his narratives, invent barriers to push through: professional, intellectual, physical, metaphysical barriers that prove his heroism, his dogged individualism, his ingenious lateral thinking, his admirable rebellion against structures set up by……wait a second, by him? It’s hugely ironic that the whac man is so often cast, whether in film, TV or literature, as an underdog, a maverick, a trailblazer and initiator. Because in reality, the whac man is a figure of convention, an embodiment of the status quo. And truthfully, no one pushes harder than he does against true underdogs, mavericks and trailblazers who are attempting to remake the world he has stamped as his own. There is nothing underdoggy, mavericky or trailblazery about the whac man experience. He is set up to succeed. The barriers to his success are fewer than anyone on this planet.

To be clear, I am not talking about the viewpoint of any one whac man but rather the collective viewpoint granted him by virtue of his cultural positioning. I'm also not saying that patriarchy doesn't negatively impact men. One of the main things Ted Lasso gets right is its examination of toxic masculinity and its impact on men. (It just doesn't examine, at least in s2, the far more detrimental impact of toxic masculinity on literally everyone else other than whacs). Unfortunately, if the point of view of a narrative is that of the whac man and the whac man only, it is going to feed into this universal patriarchal viewpoint simply because of its cultural familiarity. And this too-strong identification, accumulated over generations, leads to people who are negatively impacted by patriarchal structures being literally unable to see them.

These people actually become blind to patriarchy because they’ve never seen these structures and impacts truthfully represented in popular narrative. If they don't exist for any of the (whac male) onscreen representations of humanity, then they simply don't exist at all. And what is left is a world that looks fair and natural to them. THIS is how we end up with women rejecting feminism or opposing reproductive rights or voting for the ultimate whac man in a bad toupe. THIS is how we get to masses of people identifying with a white cop standing on a black man's neck rather than the black man who died. THIS is how we get to people identifying with the whac men and women legislating what happens to trans people’s bodies rather than the actual people inhabiting those bodies. Our focus, our identification, our allegiance is with the wrong people and this is largely due to the stories we listen to and who has told them. This is what I mean when I say narratives have power and real-world impact. These are, in my opinion, the very real effects of an overabundance of celebrated whac man narratives.

4. Bonding with the WHAC man

So how do you get someone to identify with a perspective that is so detrimental to them rather than stand in their own unique perspective? Make them feel. Create empathy. This is why the whac man casts himself as the plucky underdog, the lonesome maverick, the genius with a dark past. Identification doesn't work through the eyes or mind. It works through the heart. Then it gets into the eyes, mind, body and life of a person. This is the power of narrative; this is why corporations, governments and movements all deploy narrative. It is not just how we understand our world, it’s how we bond to things in it. That's why we need to interrogate the narratives told, to make sure they are ethical, that we are bonding with the people, places and things that truly align with who we are and what we, individually and collectively, value.

Like many, I bonded with Ted Lasso. But I bonded with it through its female characters. Ted Lasso won a lot of female fans, I think, despite its whac POV. I know I saw the trailer and went “oh my God, no thanks!” simply because it looked so traditionally whac. S1 focused on Rebecca though – she was arguably the protagonist and undoubtedly the character with the greatest emotional arc. And you could absolutely critique this white feminist perspective and the whac writing that underpins it. (Rebecca is an attractive, able-bodied and -minded, white woman, i.e. the sort of victim we as a society prefer to highlight, despite the higher rates of abuse experienced by women of colour and women with disabilities, for example).

S1 was also a super friendly watch for the sensitive whac male viewer, who could feel like a good guy by identifying with Ted as he comforted and rescued Rebecca from Rupert, rather than having to align himself with Rupert, whose violence was in the past and therefore never fully exhibited. This is a phenomenon that exists in the real world too. In cases of rape, sexual harassment or assault, women are more likely to be believed if there is a whac man to corroborate their story. Not only do we all trust his judgement, because the discourses and narratives we've been exposed to have repeatedly told us to, but we can all be comforted by the #notallmen aspect of having a hero present to report on the bad man. The whac man, who expects to be represented in all stories, still gets to see himself as the hero and the rest of us get to breathe easy in the knowledge that we do not need to face the monumental task of smashing the patriarchy. All we need to do is condemn one bad man. He’s the problem. Not the structure that created him and us all.

Honestly, at this point, I’m kinda convinced that part of the rush everybody felt for s1 of Ted Lasso was less to do with the ground-breaking writing of Rebecca Welton and more to do with the revelation that is Hannah Waddingham. We all just fell in love with her and no one can be blamed for that. But in s2, even this complex female experience seemed to vanish from view and I watched as female fans struggled to find their place in the Lasso-verse. They were in good company, since queer folks have never really had a place in this universe. Of course, fandom culture doesn't skip a beat in filling in the glaring gaps left by whac-y writers. That is what fandom does best: find the lack and imaginatively fill it. The question is: should we have to?

5. “Ted Lasso” s2

I suppose you could argue that, while there was little offered in the way of a female or queer point of view, more was offered this season to diversify the male experience. We got an episode of Dani, an episode of Isaac, and an arc each for Nate and Sam (despite problems with both). But is this enough? Is some peripheral Dani and Isaac, along with some highly problematic Nate and Sam content enough to balance out aaaaaalllll the Ted, Beard, Jamie, Roy and Higgins? I can't answer that question because I didn't watch enough of the season. In terms of the emotional charge I saw generated, the impression I got was that there was a lot of empathy for Ted, some of which was at Nate’s expense. And look, I get that Ted is super loveable. You can love him and identify with him despite being a different gender, sexuality or so forth. But this is not just about viewing the world through Ted’s eyes. It’s about the underlying construction of the piece, the space from which it is conceived. And for me, there was simply too much Jason, Brendan, Joe, Jeff and Bill (such whac names if ever heard a whac name). In short, s2 of Ted Lasso was just way too whac for me.

I think if the examination of toxic masculinity had been a little bit more balanced, I might have stuck it out. If the minor blind spots of s1 hadn’t turned into major, highly hubristic blindspots in s2, I would have seen it through. But s2 kinda turned into the show I thought Ted Lasso would be before I watched it and was pleasantly surprised by it subverting my expectations. And personally, I can't help being cynical about the timing of this latest crisis of masculinity. Because whac men always go into crisis when other voices get louder and other people start getting rights (please see: the masculine modernist movement in the 1920s-ish cos history is repeating). At this point, I have limited empathy for the plight of the whac man. He has had enough of my attention, empathy and allegiance. If he is going to continue to write narratives then he's got to do better than in the past. If he is going to continue to write narratives, then he needs to be scrutinised closely and held to account. And anyone who is not a whac man simply cannot afford to sit idly by as he creates and recreates the world in his own image.