#or acknowledging that they forgot narrative story telling 101

[modern-day-classic]

It's been three months and I am still very much puzzled by how the creative team decided to end Ted Lasso for it's main characters. I will not be touching on tedbecca at all here cause for me that isn't why I'm left still feeling so confused and let down by decisions made. So in true me fashion I am gifting you all another essay in which I work through why this still sits as incredibly underwhelming and unsatisfactory for me.

The creatives behind the show have always been very adamant that this was a story told in 3 parts. Perfect we love that. It means they have a clear beginning (intro & initial conflict), middle (dark forest aka working through the conflict) and end (conflict resolution & conclusion). This is cookie cutter narrative structure we should be good!

If we break this down into seasons we have:

The Beginning aka Season 1: The beginning of a story should very clearly introduce the genre of the story, the main characters, the heroes (Ted and you could argue Rebecca fits this description too) the setting and then the conflict and stakes. This was done perfectly and very early on we are introduced to the conflict at the crux of the show, Rebecca's revenge plot against Rupert and the demise of his beloved football team. This is information not privy to all character and we watch as the season progresses to the point where the conflict is realised by everyone involved - in this instance the first truth bomb.

The Middle aka Season 2: Season 2 is in every aspect the middle of the story. It's not only the middle season, but the middle part of the narrative structure whereby the heroes set out to resolve the conflict (Rebecca's attempt to sink the team), it is their dark forest if you will. The middle part of the story should be where the main action takes place. We see the fallout from the conflict and Rebecca's confession to Ted. While he did forgive her instantly he is very clearly hurt by it (coupled with the demise of his marriage yes) we see Ted pull away from Rebecca and the obvious strain in their budding friendship (idk what you'd call it nothing really feels right). This is most notable in the missed phonecall and ignored voice message post Ted's panic attack. All the key pieces of the story should begin to take shape in this portion of the narrative (I'm talking all the Ted x Rebecca parallels etc (I'm not even touching on if they were ever meant to be a romantic hint that's not the point of this)) and set themself out for a nice bow to be tied closing them all out in the next part of the narrative.

The End aka Season 3: This is simply the resolution to the conflict, the portion of the story where our heroes confront their issue. At the end of the story, the narrative should be complete, characters should be settled into the new normal post conflict resolution and all loose ends tied up in a satisfying manner for the viewer. AND THIS IS WHERE THE WHEELS FEEL OFF THE TED LASSO NARRATIVE ARC.

Season 3 should have seen the carefully planted plot points come together. We should have seen Rebecca and Ted overcome the slight estrangement. We should have seen them learn of their connections. We should have seen them achieve their goal to "win the whole fucking thing". We should have seen all the open storylines from seasons 1 and 2 come to a conclusion, be it nice or not that's not the point they should be complete.

INSTEAD we saw the two main characters, the heroes of this narrative be neglected and relegated to, for the most part, periphery characters. Ted has no significant storyline in season 3 outside of the Sunflowers episode and even then it was secondary to everyone else. Rebecca was removed from a lot of the action on multiple occasions getting (this is just a guess I refuse to go watch it to figure it out for real) 10 minutes of screentime in an episode, and not appearing until 15 minutes in on some occasions. Yes we still saw her but it was mostly on her own. This isn't conducive with having the time to close out all the little breadcrumbs and storylines woven for them in the first 2 seasons EVEN WITH the extended episode run times. Rather we had a million new storylines introduced and with them an abundance of new characters. The ending of the story isn't a place for this.

The creative team seems to have forgotten the key part of an ending: the narrative should be complete, characters should be settled into the new normal post conflict resolution and all loose ends tied up in a satisfying manner for the viewer. Yes we saw a conclusion for each, but both Rebecca and Ted's endings were rushed and last minute pieces of information thrown at us. I could have walked away (yes disappointed) but satisfied with Ted going back to Kansas if that's what season 3 was showing me he needed. They instead had taken great care to show how engrained into Richmond and the football club Ted was. So how as a viewer am I meant to be satisfied with his abrupt return to Kansas. As for Rebecca, her want for a second chance at love was always a key element of her storyline. Did I ship tedbecca, yes? would I have been happy with her finding love even if it wasn't a tedbecca endgame? also yes BUT I, as a viewer needed to buy into the love interest, not just have some new character we've hardly seen supposedly be her endgame. We needed to have been brought along on the journey here and not just had it thrown in at the last second.

So what this mammoth essay has made me realise is, my dissatisfaction as how Ted Lasso ended is due to the fact that NOTHING was closed out. No storylines properly ended. No conflict properly resolved and our heroes not shown as settled into their new normal. The creative team for whatever reason didn't follow through on basic narrative storytelling framework and as a result left behind a show with no proper ending.

[dotsayers]

20 Questions: Writer’s Edition

tagged by the beloved @myrmidryad 

this is a LONG one so here’s a cut to avoid do you love the colour of the sky syndrome

1. How many works do you have on AO3?

101 after a recent purge... no one may know about my Past

2. What’s your total AO3 word count?

329004! used to be about 350k but again... purge

3. How many fandoms have you written for and what are they?

on ao3 i’ve written for (chronologically) doctor who, skyfall, discworld, les mis, star trek, lord peter wimsey, marvel (various), in the flesh, red vs blue, roosterteeth rpf, check please, hockey rpf, star wars, daredevil, rivers of london, dishonored, emmerdale, dirk gently, holby city, hot fuzz, kj charles, guardian, the covert captain, taskmaster rpf, good omens, ghosts, roswell new mexico, leverage, schitt’s creek, the magicians, 9-1-1, it chapter two, the magnus archives, the old guard, the mandalorian, the ritual, the locked tomb

way back on the pit of voles i wrote for twilight, harry potter, hetalia and xmen first class. and on the newsround chatrooms i wrote exclusively harry potter fic about my oc neville and luna’s daughter

as you can tell i am not prone to staying in one fandom writing wise, i tend to end up with one complete fic and seven abandoned wips concealed deep in my google drive

4. What are your top 5 fics by kudos?

finally see what it means to be living (captain marvel, carol/maria, i really hit the zeitgeist with this one i think i was something like the fifth fic in the ship tag)

do whatever you think (the magnus archives, this series is actually #2-7, then #8 #9 and #11 for me so i’m going to cheat a bit)

standing in a world of my own (daredevil, matt/foggy/karen, another zeitgeist hit! really miss writing for daredevil actually... it’s a perennial fave)

a winding road that stretches towards the truth (iron man, tony/rhodey, i STILL don’t know when this got so many kudos. i swear i looked away when it was at 100 and suddenly it ended up here)

where the long shadows grow (star trek aos, kirk prime/spock prime, thank god some people are checking the prime kirkspock tag is all i’m saying!)

5. What’s the fic you’ve written with the angstiest ending?

i don’t really Do angsty endings... possibly a blanket of stars just because i ended it on something of a cliffhanger and then completely zoned out of rnm for long enough that i forgot where i was going with it. there was definitely the intention of fixing things but then i just... did not do that. and now the show is on s3 and i’m over a season behind! life comes at you fast

6. What’s the fic you’ve written with the happiest ending?

where the long shadows grow, because it reunited kirk prime and spock prime and they DESERVE TO BE HAPPYYYY. i’m a complete sucker for presumed dead/back from the dead stories, actually, so on a similar theme i have two (TWO) daredevil fics which follow the trope, one about ray coming back post-s2 (might never be normal again) and one about foggy and matt reuniting post-endgame (in the corner, taking up space). this is the only time i will ever acknowledge endgame ever again

7. Do you write crossovers? If so, what is the craziest one you’ve written?

i do write crossovers! in fact i am often roundly mocked by my friends for the increasingly esoteric nature of my crossovers. way back in secondary i wrote a twilight/labyrinth crossover where angela was sarah and jareth’s daughter  because i had a massive crush on a girl who liked both twilight and labyrinth. however, since that has been comprehensively scrubbed from the internet, i think my craziest crossover is probably part three of ‘traced upon the skies’, already an esoteric crossover of rivers of london and hot fuzz, when i added in a crossover with the horror movie ‘the ritual’ just because i wanted rafe spall’s character to be happy 

8. Do you write smut? If so, what kind?

EXTREMELY rarely and only with extreme embarrassment. i will not be any more specific than that

9. Do you respond to comments, why or why not?

i used to really struggle with doing this, to the point that i had over 300 comments just. lingering in my inbox unanswered. so i decided to give those up and just commit to answering them from then on, which has been working fairly well for about a year and a half now. i love getting comments but i get overwhelmed really easily and struggle with replying in a way which feels meaningful without getting in my head about it! 

10. Have you ever received hate on a fic?

yes lmao it was for a harry potter fic on ff.net where harry got sorted into hufflepuff instead of gryffindor. it wasn’t a very good fic but i think the fact it was clearly written by an 11 year old should have scared off at least some of the less flattering comments.

11. Have you ever had a fic stolen?

i don’t... think so? i don’t know how i’d find out to be honest, my vanity googling is rarely very effective

12. Have you ever had a fic translated?

yes! as bronze may be much beautified (skyfall, mallory/bond) got translated into chinese, i was extremely pleased. i think it’s mandarin but the ao3 page for the translation doesn’t say and my mandarin is.................. extremely poor

13. Have you ever co-written a fic before?

also yes! me and jess little-smartass have written a lot together, although only our star trek/les mis series has been published, more’s the pity. we spent a lot of les mis fandom time workshopping aus and we were always extremely correct about all of it, imo

14. What’s your all time favourite ship to write for?

oh god. i think probably kirk/spock, although there’s some recency bias to that since i reread space manhattans recently and was reminded of my love for them. i really like writing jon/martin but i’ve mostly done that from outsider pov which is a bit different to writing shipfic, i think. joe/nicky from tog was also something i really liked writing but i struggle with plotting longer fic with them

15. What’s a WIP that you want to finish but don’t think you ever will?

i recently went through my abandoned fic folder so i actually have a few options for this. the obvious choice would be ‘any of the hockey ones’ but i did delete most of those just for my sanity. more recently i started writing a vaguely smutty pre-the thing mac/fuchs fic for alex @milkdrinker5000 which i really WANT to finish but am struggling with. most obscure answer (even beyond the thing) and most likely to remain unfinished is the insanely in depth post-tog booker/copley fic i had planned out back in about october. i wrote a good 6-7k of that one and then i realised it was going to be, like, difficult, and decided if i was going to put that much work into something it may as well be the novel im meant to be writing

16. What are your writing strengths?

once a friend told me i had an excellent facility for dialogue and ive thought about it every time i write ever since. i love writing dialogue and i think i’m good at knowing what sounds ic and what is right out. 

17. What are your writing weaknesses?

one of the things i struggled with for a really long time, and honestly still have trouble with, is depicting action in words. once i wrote a hockey fic which featured multiple hockey games and i spent probably four times as much effort editing those to make sense and be interesting that i’ve ever done on a talkier scene.

18. What are your thoughts on writing dialogue in other languages in a fic?

i’ve done it but only when i knew more or less what i was talking about - i did italian at school so i felt confident using it for nicky in something particular and real. i try not to italicise when i drop in words from other languages, which is what i usually do when i’m using a language i haven’t studied in depth (for example, joe’s use of arabic in some of my fic), and to only use words which i’ve heard used by native speakers in that context. i think if you don’t feel confident using another language, generally speaking, you shouldn’t do it. and for god’s sake don’t use google translate for a full sentence

19. What was the first fandom you wrote for?

harry potter on the newsround chatboards. ariana lovegood-longbottom my sweet child

20. What’s your favourite fic you’ve written?

this used to be an easy question because hands down the fic i was proudest of on posting it was i’ll be seeing you. i spent a year and a half on research and writing! but these days i do cringe a little at my hockey fic, and i think i’m prouder of some of my shorter works. let’s do a curveball and say layer on layer, down on down, which is my favourite of my rnm fics and the one i like most from a narrative voice perspective. getting michael right was stressful and i’m still proud i got it down for a TIME LOOP FIC, my absolute favourite trope

tagging @little-smartass and @leescoresbies just in case they want to try this

[rachelbethhines]

Tangled Salt Marathon - Max and Eugene in Peril on the High Seas

So we have another obligatory animal focused episode. This one fairs much better than Max’s Enemy and King Pascal; but it’s still ultimately useless filler. 

Summary: Rapunzel and the group are finally leaving Tirapai Island when the cargo ferry arrives, but Eugene and Maximus get into an argument, resulting in them falling overboard. They manage to save themselves on a passing ship, but discover it to be a prison ship where all the criminals, including the Stabbington Brothers, Lady Caine and Axel have escaped and taken control. Eugene and Maximus attempt to escape, but discover the villains' plot to ambush the cargo ferry and set out to stop them. Meanwhile, Rapunzel and the group discover Eugene and Maximus are missing and set out to rescue them.

There’s No Ticking Clock In Season Two and That’s to the Series’s Detriment 

So we’re finally leaving the island and this bit of dialogue tells us that they were on said island for at least six weeks. Which matters not in the slightest in the grand scheme of things; which is the problem. 

In addition to there being no outside threat forcing Rapunzel on this journey, there’s also nothing that’s forcing her to hurry up. So we’re doubly lacking in tension. There are no stakes in season two so things feel over long, and arcs that have the heroes stay in one place for more than two episodes at time stop the momentum of the series dead; leading to tedium for the viewers. 

We Didn’t Need King Pascal Just to Set Up the Firefly

The firefly is one of the few elements in the show that has proper set up and resolve. It’s established as the threat in one episode and then used as the solution in this episode. However both episodes are utterly useless in the over all arc so, while clever, it’s a wasted idea. It’s also unneeded since this intro exposition re-explains what the firefly is and what it’s deal is in case people missed out on King Pascal anyways. 

The Reason Why this Max Focus Episode Works, but Not Max’s Enemy, is Because It’s a Double Act

The problem with the mandated animal themed episodes every season is that Max and Pascal aren’t strong enough characters to work by themselves. They’re sidekicks; they’re designed to play off other characters. The writers seemed to clue in on this by making this episode and Max’s episode in season three, team up episodes. So now today’s episode becomes a Eugene focused episode too. Which in turn allows for their character dynamic to be fleshed out more. 

We needed more interesting combinations of the mains in episodes like this one in order for the group to feel like a group. We also desperately needed to do something similar for Pascal instead of just rehashing the same plot for him over and over again. 

This Plot Point Makes No Sense

When I first saw this episode, I thought it was foreshadowing later developments for season three, seeing how it’s one of the few episodes in season two that connects back to season one. However, once you know the events of season three, this episode no longer makes logical sense within the greater narrative. 

For you see, Andrew and Varian have teamed up to take over Corona at the beginning of season three. Yet that begs the question of why didn’t Frederic ship them away on the prison barge as well. Varian you might could excuse being missing here given his age, but Andrew? There’s no reason to keep Andrew around; none that is given on screen anyways. 

Also this mutiny couldn’t have taken place after the Saporian take over either. For starters all the guards retreated from Corona entirely when it became evident that the Saporians were in charge. That’s a stated plot point in Rapunzel’s Return to explain why Cap is missing. There wouldn’t have been a need for a mutiny if Andrew just let all the criminals go and there’d be no reason why Andrew would send them away using his own guards. The Saporians are small in numbers and that would be a waste of manpower. 

Also, because the Saporians are outnumbered, it doesn’t make sense to send away potential allies. Lady Caine has more logical motivation to join Andrew in his take over than Varian does. She just wants revenge on Frederic and riches. She cares nothing about ruling a kingdom and holds no qualms about hurting others; so she’d be the perfect partner for Andrew’s plans. Add in the fact that she has a whole gang/small army of criminals under her command, and she could have brought along some much needed manpower. 

Lady Caine is Wasted!!!

Speaking of Lady Caine, this is her final appearance in the show. Introduced in the pilot as an important character, yet given only three episodes and shoved out of the picture before the final season. And they didn’t even bother to bring up her original motivations or goals in any of her return appearances. 

Chris mentioned in interviews about how he wanted to ‘defy audience perception’ and so pulled a bunch of bait and switches in the writing; but this isn’t that. This is just straight up lazy writing. There’s nothing clever about introducing a character as being important and then not using them. It’s a frustrating waste of time and a waste of a concept; not a surprising ‘gotcha’ for the audience. 

Proper set up and resolve exists in storytelling in order to get your audience invested in what is happening and then give them a satisfying pay out for their continued involvement. Modern television writers have gotten so caught up in ‘shocking’ twists that they forgot the importance of giving satisfying endings to their audience. Because if the audience isn’t satisfied they will walk away. Hooks alone are not enough to keep them around as evidenced by the series ratings drop. 

Also, Why is Weasel Here?

I once suggested that this episode would make more sense if Max’s Enemy came before One Angry Princess in season one. Implying that Caine and the gang were sent away before Andrew’s arrest. This idea flies out the window with Anthony the Weasel here. He was last seen running away at the end of The Return of Quaid. How the hell did he wind up here? 

He had to have been arrested, put on trial, and then shipped away with the other criminals in between TRoQ and PotHS. Which just raises a whole bunch of other questions.   

How much time has passed between then and now?

What did Weasel do to get caught in Corona?

Why did it take so long to ship Caine and her gang out when it was just a matter of days for Attila to be banished? 

Why wasn’t she put on that same barge Attila was going to be put on?

If there was enough time to ship Attila and the Weasel out then there was plenty of time to ship Andrew and Varian, so why are they still in Corona?

Why is there even a prison barge to begin with? Are they just that stripped for room and man power in Corona’s dungeons?

Where does the prison barge actually go to? Does Corona own a prison island or do they have a deal with another kingdom? What is the world building behind this plot point? 

Also where the heck did Dwayne go? 

You Need Villains 

In the end it doesn’t matter. This is just a lame excuse to get rid of all of the season one villians besides the Stabbingtons. Which only stick around because they’re movie originals and need to reappear and be redeemed before the wedding short; otherwise they’d be gone too. 

Which is the dumbest idea ever! Season two and even the first half of season three is devoid of any main antagonists so why are we getting rid of anyone who could potentially fulfill that role? Who’s stupid idea was this? What were they smoking? This goes against basic writing 101. There’s no story if there’s no conflict! 

Eugene Has a Point

Like there are reasons why law enforcement aren’t on call 24/7 and there are also reasons why different territories have different jurisdictions. Not complying to that undermines law and order, not upholds it.

If a police officer from the US could arrest people while on vacation in Spain, it’d be a political nightmare. Even extrication of wanted criminals who seek refuge in other countries requires permission and cooperation from those countries governments or you’d be violating international law; which potentially could be seen as an act of war. 

Also you would still send in people who are actually on duty. Right now there are protests in my country regarding the lack of accountability police officers have. Plenty of cops break the law both on and off duty because they know they can get away with because of the nepotism within the force.  Max pulling out a guide book that essentially gives Corona’s guards permission to ‘enact justice as they see fit’ while even off duty is clear case of an abuse of power, and futhers the narrative that Corona is a dictatorship/police state that persecutes it’s most vulnerable citizens. 

The fact that the narrative then rewards this line of thought by placing Max in the right on this is just another check off in the long list of promoting authoritarian beliefs that this series teaches. People with power are held to different standards then those without. That’s just a fact of life. Having Eugene or Max acknowledge that this does break the law but is still right thing to do would be far better message and give the characters more complexity. 

Who gets to decide what is ‘bad’ here? What is this ‘something’ they are meant to do? This rule is a gateway for corruption because it’s not clearly defined and relies too heavily on the idea that guards are naturally ‘honorable’ and good and not, you know, people. 

There’s a saying in law school. Nothing is simple and fair. If it’s simple then it’s not fair; and if it's fair then its not simple. 

Laws are complex because life is complex, people are complex, and not everything applies the same way because situations are different. That’s why we have courts. And yes, sometimes there’s too much discrepancy in sentences, leading to some people being harshly over punished while others get away with little more than a slap on the hand; but having things the other way around would still cause such discrepancy as not everyone’s experiences are equal to begin with. 

And before you say I’m reading too much into a kids show, this is a conflict that the episode itself has decided to introduce. If you wanted a simple message about doing the right thing than ‘the law’ should not have been brought up at all. Because laws are not simple, they are not universal, and they are not infallible. If the writers thought this idea too complex for their audience then they shouldn’t have introduced the idea. 

It's better to not bring up deeper subject matter at all than to introduce it and then not address it properly.  

Oh, and We Get Confirmation that Corona Speaks English, for Some Reason... 

This was also hinted at this in the supplement book, My First Year As A Princess; which was suppose to replica of Rapunzel’s Diary in the show, though it’s sverealy been paired down from the original concept. 

Anyways, it’s pretty much canon that everyone is indeed speaking English on screen, even though there’s no logical reason for this. Chalk it up to yet more lazy world building. 

Corona is never hinted to being a replacement for England itself. The few hints we get to it’s placement on the world map suggests it’s on the main continent of Europe and is a peninsula. Other real world languages like, French, Italian, and German are confirmed to exist, with Italy at least being a real location in this world. 

Also we spend this whole season traveling to other kingdoms. So why would everyone speak English? This is before British and American imperialism, and before the internet, so English wouldn’t be a default secondary language for the many countries that it is today. So how does this work? 

Once again, if traveling the world is a big plot point of your story then you need to determinate where and how your main protagonist fits into that world. If they’re a princess of a kingdom then we need to know where that kingdom is in relation to the surrounding places we visit or discuss.  

Axel is Still Useless

Max didn’t need a rival. This character adds nothing to the over all story and is one villain/character too many in an already overstuffed series. I don’t mind the idea of pairing down some of the minions and other background characters. I just take issue with getting rid of all of the villains. Particularly interesting ones that could have done more, like Weasel or Lady Caine. 

The Very Existence of Lady Caine Undermines Both Rapunzel’s and Cassandra’s Arcs

So the series wants to present this idea that Rapunzel is compassionate and is all about giving second chances, yet Caine, one of the most sympathetic villains in the show next to Varian, is given zero chance at all. The show is too busy trying to make Rapunzel look ‘bad ass’ by easily taking down an seemingly equal badass female villain, that doesn’t stop to think about the implications of this conflict. 

The series fails because the only people Rapunzel redeems are people that she needs something from. She needs Styalan to gain the Eye of Pincosta. She needs Varian to help defeat the Saporians and ease her bruised ego. She needs Cassandra because she’s her best friend and it hurts her personally for them to no longer be friends. None of the redemptions in the show are actually about the characters who are redeeming themselves, it’s about their effect on Rapunzel’s personal life. 

But placing Rapunzel’s personal feelings above what other characters actually need is the opposite of compassion. It’s selfishness. It doesn’t make Rapunzel the focus of the story it just makes her look like an ass. 

Moreover Lady Caine’s arc is directly tied to Corona’s corrupt legal system. Rapunzel can’t be this purveyor of change if she and the show never acknowledges why the system must change to begin with. 

Last off, Cassandra’s arc is then diminished by the existence of more sympathetic villains like Caine and Varian. They have more reason to do the things they do, and their actions connect back to their goals. Cass doing worst things for less reason, and then getting away with less punishment than them, is a slap in the face to the viewers. It turns her from a likeable character to an unbearable twat, and makes her later redemption a product of nepotism rather than act of agency on her part. 

Everyone is ill served by writing Caine out and not giving her a conclusion to her personal conflict. Rapunzel, Cassandra, Frederic, and Lady Caine herself are all denied a chance to grow as characters and that’s infuriating to watch. 

Also Yes, This Episode was a Big Missed Opportunity to Add Urgency to the Plot

As previously mentioned, season two needed an ongoing external conflict. Anyone of the villains on the ship could have been the main antagonist of the second half of the season. Just have the person in question escape in the confusion, or overthrow the new crew of the ship a second time. Then have them show up later looking for a fight. 

My money is on Lady Caine, but the Stabbingtons or Weasel could have done just a well. Caine wants revenge on Rapunzel. The Stabbingtons are after Eugene. Weasel wants power and riches, so capturing the princess and holding her for ransom could have been a goal. Then have them learn about this hidden power then voila you gotta a set up for a race to the end of the quest.  

You also could just picked an underling at random and then elevated them to main villain by giving them a good goal and a backstory. 

Also finally, Andrew and/or Varian, we’re options that they could have added in here. Varian more so than anybody else as he already has reason to go after the moonstone because his father. 

Heck, you still could have added Varian and not made him the villain if you didn’t want to. This could have been the start of his redemption arc instead, and one of the previously mentioned villains,a Brotherhood member, or one of Zhan Tiri’s Disciples could have still served as the main antagonist. 

In short, most of the problems with Tangled’s story are really easy fixes and the writers had multiple options at their disposal that they didn’t take. Which is just further evidence to last minute rewrites and Chris and Ben’s missamangment. 

Conclusion    

I enjoy this episode because it’s one of the few to tie back into season one, but it’s is a missed opportunity and it is a shame that it went nowhere.