A Latecomer to Lasso
By Keith Cronin | August 18, 2023 |
The Apple TV show Ted Lasso has been mentioned here before, most notably in this post by former WU regular Bill Ferris, who spotlighted the show two years ago. But staying true to my lifelong habit of being woefully behind the times (I still haven’t gotten around to seeing that new Kevin Costner movie, Dances with Wolves), I was late to the party in joining the sizable fandom of All Things Lasso.
I’d been hearing about Ted Lasso for a while, but had been dragging my feet about checking the show out. For one thing, it appeared to be about sports. I not only don’t care about sports; I actively dislike them – a holdover from my teenage days when I resented all the attention that high school athletes received, while musicians and other artists were largely ignored. (Yes, I am an attention slut – why do you ask?) It also sounded like a pretty goofy fish-out-of-water premise: an American college football coach who suddenly finds himself transported across the Atlantic to coach a professional English soccer team. So it seemed the level of suspension of disbelief the show would require was already taking this into shark-jumping territory. And then there was that ridiculous ’70s pornstar mustache I kept seeing in photos of the titular character. No, this clearly did NOT look like AKVF (Acceptable Keith Viewing Fare).
I also didn’t like the idea that I’d need to subscribe to yet another streaming platform to watch this show. I’m already shelling out money to Amazon, Netflix, Paramount, Disney, and maybe a couple more. But I couldn’t find any other way to watch this show without subscribing to Apple TV. So I grudgingly signed up for one month, figuring I could quickly tell whether this show was worth continuing my subscription.
Okay, I have to admit: Within an episode or two, I was hooked. I went on to binge-watch all the older episodes, and then began viewing what would turn out to be its final season in real time, sometimes waiting an entire excruciating week between episodes (surely one of the most relatable first-world problems of our day). I thoroughly enjoyed the entire series, and was struck by what a unique experience I had in watching this show, so today I thought I’d explore my Love of the Lasso. Okay, that sounds like a pulp fiction paperback title that could have a VERY dodgy cover, so let’s move on and take a look at why this show stood out for me.
NOTE: I’ve attempted to avoid any spoilers, but I will allude to some of the long-reaching themes and concepts the show explores.
First of all, it’s so gosh-darn different.
One of the few upsides of the pandemic – besides allowing many people to work corporate jobs barefoot and in gym shorts – was the quality of streaming TV shows that emerged. But, perhaps not surprisingly, many of those shows explored some VERY dark themes. Ted Lasso stands out among them for having an unapologetically upbeat main character, who is bound and determined to share his own folksy (and okay, often seemingly corny) philosophy with everybody he encounters. As the series progresses, we learn that Ted’s life is not all sunshine and rainbows, but the steadfastness with which he maintains his positive outlook is a far cry from the dark and often nihilistic cynicism that dominated many other breakout shows of that era. Personally, I’ve been experiencing more than enough darkness during the past few years, and I turn to my TV late at night for relief, rather than for confirmation that life is indeed a meaningless cesspool of disease, despair and sociopolitical polarization. (Hey, I’ve already admitted in the past to being absolutely no fun at parties, so please don’t raise an eyebrow at my non-Lassoesque outlook.)
But it isn’t just the relentless optimism of the main character that makes Ted Lasso so different from other shows. A word I’ve often heard to describe the show is “refreshing.” I’d agree with that, but it oversimplifies. I’d probably be more inclined to use a word like “departure,” because the show’s entire tone is utterly unlike any I’ve seen: a refreshing mix of folksy old-school idealism, clashing openly with the cynical and brutally competitive profession in which it is set, where the athletes (and their coaches) are alternatingly supported or cursed by fans who feel utterly entitled to praise or berate whatever football club to whom they’d pledged their loyalty. Ted starts the show as an utter pariah to these fans, and endures constant taunting and criticism, often delivered face-to-face.
By the way, this also isn’t a show about the American way being the right way, nor a show devoted to USA-bashing. That kind of polarization was something I was more than a little worried about, but my concerns proved unwarranted. Instead, the show serves as a great example of just how different two cultures can be, and still work – and play – together .
It’s a sports show that isn’t about sports.
Not since Friday Night Lights, about which I waxed both passionately and a bit pornographically in this post, have I seen such a marvelous apparent bait-and-switch. Although both shows focus on the coaches and players of high-profile sports teams, neither show actually spends much time emphasizing who wins or loses their games. Instead, they focus on the unique and often surreal world of high-profile athletes, as well as how deeply – and sometimes comically – invested their local fans can become in them.
In both cases, the sport serves as a hook, offering us a point of entry we can all understand and relate to (even if, as in my case, all that sport initially provokes in me is antipathy). We’re given a familiar – or at least easily recognizable – scenario as the setting for the show, and then brought inside of it in a unique way. But by the end of the series, we realize – and ultimately, we are flat-out told – that the show’s not about what you think it’s about.
The characters each have hidden depths. Or hidden somethings.
This is an area where the show truly excels. Most if not all of the main characters make an immediate impression, leading us to draw our own conclusions: This star player is a spoiled brat, this woman is a bitter divorcée, this mustachioed coach is a corn-fed rube, this glamorous woman is a thoughtless bimbo, this bumbling middle-aged klutz is a lifelong failure and destined for the dustbin of obscurity, and so on.
But there is more to each of them than initially meets the eye. Much more.
In a deftly evolving game of screenwriting chess, various characters are eased in and out of the spotlight, in many cases first confirming our expectations, then confounding them. And this is done with a larger number of characters than most TV shows, to the point where the line between lead and secondary characters keeps changing – or disappearing – not just over a few episodes, but across all three seasons!
One by one, we are drawn into the lives, loves and struggles of a wide range of characters, and every single one of them is on an individual journey, while also working and interacting within a team. In a masterful demonstration of arc-building, we find ourselves looking at damn near every one of them in a very different way by the end of the series. That’s good writing, and skillful as hell. Most shows (and books and movies) focus on the transformation of one character, or maybe two, tops. There’s got to be at least a dozen utterly marvelous arcs in this show – I can’t think of another ensemble show that pushes both the quantity and the quality of the characters’ arcs to the extent that Ted Lasso does.
There’s a rom-com subtext I’ve never seen in a sports show.
Let me clarify. As an unabashed fan of romantic comedies, I’m well aware that there are numerous successful rom-coms set in the world of sports. But this is different. I’m not saying the show is a rom-com (although certain episodes definitely qualify). Instead, the show makes some highly conspicuous nods to rom-com tropes, and, in what I found to be a very entertaining twist, most of the characters seem to have a working knowledge of said tropes. To see a locker room full of young, testosterone-filled athletes and seasoned coaches chatting both insightfully and enthusiastically about rom-com concepts is both comedy gold and a pure delight.
This comes to a head in an episode where Ted actually lectures his team on a concept he calls “rom-communism,” which, he maintains, “is about believing that everything is going to work out in the end.”
Sounds cheesy when I describe it, but gosh darn it, the episode freaking works.
Some of the writers are also the actors – and they clearly know each other well.
The show was created by Jason Sudeikis, Bill Lawrence, Brendan Hunt and Joe Kelly, with both Sudeikis and Hunt playing major roles (Lasso and Coach Beard, respectively). But they are not alone in working both sides of the camera. Other writers of the show who also appear in recurring roles include Brett Goldstein (the inimitably grouchy Roy Kent), Keeley Hazell (as Bex, the evil former owner’s new girlfriend, who I’m pretty sure served as the real-life inspiration and partial namesake for the character “Keeley Jones,” played by Juno Temple), and Phoebe Walsh (Coach Beard’s utterly bizarre girlfriend Jane). There might be even more, but I’ll let Wikipedia and IMDB guide you in pursuing additional details.
This arrangement is not all that unusual, particularly for shows focused on one character (e.g., Curb Your Enthusiasm, Fleabag, Russian Doll, etc.), but seems less common for ensemble shows like Ted Lasso. The American version of The Office is a standout example of an ensemble show where multiple actors are also primary screenwriters.
Maybe that’s the ticket here, and helps explain how each of the characters gets to take such a journey during the show’s run. But, in looking at the writing credits, it’s not necessarily a clear-cut situation where an episode focusing on one character’s transformation is written by the actor who plays that role. On the contrary; as an example, “Beard After Hours,” an episode that takes us deep into the rather bizarre proclivities of Coach Beard (played by show co-creator Brendan Hunt) was co-written by Joe Kelly and Brett Goldstein, whose Roy Kent character only appears in one of the episode’s minor subplots. So I suspect it’s more a case of these actors/writers knowing each other’s abilities VERY well, and writing stories that best leverage the abilities they’ve observed in their colleagues. But I’m just spitballin’ here…
There’s a great range between wholesome and racy, with a generous helping of wokeness.
Lest you think this is an entirely Pollyanna show, be advised that it also explores some very adult – and sometimes downright kinky – themes. To that end, it’s also worth noting that this show is definitely “woke.” (Personally I hate the word “woke,” feeling like the concept could be described with far more dignity and gravitas, but I am definitely a fan of what the word stands for.) The show features numerous non-heterosexual relationships, and explores the challenges and prejudices that LGBTQ+ people can encounter, particularly in the machismo-charged world of professional male sports. So if you don’t like wokeness, you probably won’t like Ted Lasso. Then again, if you don’t like wokeness, you probably won’t like me, either. And I’m okay with that.
Nobody says the F-word more evocatively than Roy Kent.
I’m an unapologetic fan of what some might call “colorful metaphor” – and okay, what others would call foul-mouthed profanity. In particular, I stand in awe of both the power and the sheer versatility of the F-word, which can serve as noun, verb, adjective, adverb and possibly more. I mean, how many other words can make that claim?
But nobody can say that word with more passion, energy or frustration than the perpetually grumpy character named Roy Kent, an aging athlete whose playing days are now behind him, but who strives to find purpose and – even more impressively – growth as he faces life’s challenges head-on.
The show is a celebration of growth, healing and therapy.
Speaking of growth, another way in which this show differs is in giving most of its characters a clearly stated desire for growth and/or enlightenment – NOT something you’d expect from a bunch of sweaty, foul-mouthed footballers. Numerous characters, including some of the most seemingly shallow or self-absorbed ones, openly express their desire to become better persons, and are taking active – if sometimes misguided – steps to do so. That is SUCH a refreshing message in these cynical and divisive times, and to see it expressed by the kind of macho characters who typically avoid showing their feelings really helps drive the point home.
In particular, the show focuses on the healing power of professional therapy, and does a stirring job of exploring how difficult it is – particularly for many men – to seek help. This show happened to come into my life at the same time that I found the need to get some counseling, and seeing how hard it was to get one male character to even be willing to start a conversation with his newly appointed therapist rang incredibly true to me. So while this show is ostensibly lightweight fare, it does one of the best jobs I’ve seen of normalizing the idea that every one of us – male, female or whatever – might just need some help every now and then. I think that is an increasingly important message to put out there, and Ted Lasso does so beautifully, without becoming either maudlin or preachy. Well done, Mr. Lasso. Thank you for your service.
The series finale is one of the best ever, and packed with easter eggs.
Some interwebby research suggests that TV series finales first became a big deal with the final episode of The Fugitive way back in 1967, when countless viewers gathered around their TVs, eager to finally learn who killed Dr. Richard Kimble’s wife. Other finales that etched themselves into the televisiony zeitgeist over the years include M.A.S.H., The Mary Tyler Moore Show, Cheers, Friends, Lost, The Sopranos… I could go on and on. But while many finales were memorable, there were definite hits and misses, with the endings of Game of Thrones, Seinfeld and Dexter (among others) leaving many viewers unsatisfied.
The series finale of Ted Lasso definitely scores a goal (see what I did there?), wrapping up the show beautifully, positioning each character for what might come next rather than giving each one a tied-up-in-a-bow happy ending. To top things off – and I’m putting this vaguely to avoid spoilers – the show closes with a note from a primary character, putting into writing a realization that is just occurring to us as we read it. It’s just perfect, and the kind of thing that makes me think, “Damn, I wish I had written that!”
As a bonus, the finale contains numerous “easter eggs,” giving diehard fans plenty to chat about after the screen fades to black, with numerous callouts to previous episodes, and a few unexpected connections, including a subtle “flying Dutchman” implication that a far more astute viewer had to point out to me. All in all, the episode is worth repeated viewing and analysis, even if you find yourself fast-forwarding through the musical number. Yes, there’s even a bit of Rodgers and Hammerstein in Lasso’s adieu episode.
Soooo, Keith – do you ever actually *read* anymore?
I’m well aware that my last two posts have been about TV shows. But I’m a writer whose voice is deeply influenced not only by the books I read, but by the movies and shows that I watch. And those shows exist only because somebody got an idea, and wrote it down.
From a writing standpoint, Ted Lasso is clearly a team effort. But that’s more than fitting, for an ensemble show that is literally about a team. Still, I believe there are powerful lessons for individual writers to learn from the shared accomplishments of a team who chose to write a show that reminds me of the famous line from Monty Python:
And now for something completely different…
How about you?
Has your attention been lassoed by this show? Did you love it or hate it? Did it inspire any ’70s-style facial hair in your household? Please chime in, and as always, thanks for reading.
Oh, and to quote from the Sopranos finale: Don’t stop believin’.
Author of the novels Me Again (originally published by Five Star/Gale), and Tony Partly Cloudy (published under his pen name Nick Rollins), Keith Cronin (he/him) is a corporate speechwriter and professional rock drummer who has performed and recorded with artists including Bruce Springsteen, Clarence Clemons, and Pat Travers. Keith’s fiction has appeared in Carve Magazine, Amarillo Bay, The Scruffy Dog Review, Zinos, and a University of Phoenix management course. A native of South Florida, Keith spends his free time serenading local ducks and alligators with his ukulele.
Hey Keith — While not a soccer… er, football (rest-of-the-world definition of the word) fan, I was an early adopter of the show, and have marveled at the writing throughout. It’s one of the very few things I have watched more than once since The Lord of the Rings trilogy. It inspired me in more ways than I can list, but I would say that chief among them are:
*Being unafraid of being sincere in storytelling.
*Trusting the audience in long setups, and not overexplaining callbacks.
*The power that resides in delving into secondary characters, including their backstories.
Really enjoyed your piece, and I agree–we are all products of all that we experience, particularly stories. Even those we consume in the visual media. (Also, hadn’t picked up on the Flying Dutchman allusion… wow.) Thanks for getting my storytelling wheels turning this morning. Hope all is well with you. Cheers!
Thanks, Vaughn. You were smart, picking up on this show so early.
And I really like those three points you brought out – in particular I think it took a lot of bravery to write something so openly sweet and sincere in an age of increasing cynicism and snark.
OK, Keith, you’ve roped me in. I’ll start watching Ted Lasso (as soon as I finish season 2 of White Lotus which, if you haven’t seen it, has some extremely dark moments, but also Jennifer Coolidge). I already have Apple TV, mainly because it broadcasts some of the Yankees games (although this has been a season of doom). Like you, I watch TV and movies to learn more about the art of writing, the art of creating, more particularly character development, narrative arc, etc. So thanks for this post! I loved The Diplomat (I used to work in that world. I wasn’t a diplomat but in the shadow of national security issues, often working with the State Department, so it hooked me immediately). Can’t wait for season 2.
Glad to hear I’ve lassoed you, Mary! Or is it lasso’d? Clearly you were the smart one, simply going with “roped.”
I just re-watched The Diplomat this week, and it holds up well under a repeat viewing. Like you, I can’t wait for the next season!
“In particular, the show focuses on the healing power of professional therapy, and does a stirring job of exploring how difficult it is – particularly for many men – to seek help.” YES! That aspect of the show was purposeful and unique, especially considering we’re talking SPORTS here. We’re talking, get out on the field beat up on those guys.
Beth, I’m with you – it’s great to see a show in such a macho setting that’s not afraid to point out the need so many people have for some external help. And that needing that help is NOT necessarily a sign of weakness.
Keith, what a great overview of Ted Lasso! I, too, was a latecomer, and started watching just before Season 2 at the insistence of my nephew. At first I was baffled by the Beard after dark episode, until I read that they had only written 10 episodes for the season, then were asked to do 2 more. So they added the Christmas and Beard after dark episodes. The Christmas one worked for me as it felt like in small ways it built on what was growing. The Beard episode, while well done, felt strangely irrelevant.
Many of my family (including the nephew who got me to watch it) have not yet watched Season 3, so I have to bite my tongue when they talk about characters who have major story events yet to come. Like you, I thought the way therapy/counseling was worked into the show was brilliant and important. The Easter Eggs were great, and the NY Times writer who did a weekly recap tried to mention all of them. He got very impatient with the final season, which made me laugh since so much of the tenor of the show was realizing you had to expect the unexpected. Did I agree with every choice? Of course not, but that’s not the point either. It was such a joy to watch a show that had writing, acting, and wonderful energy and storylines and so much more completely integrated into the three seasons.
On another note, I had not watched The Diplomat until your post and wow, another incredible series. Cannot wait for the next season. As for watching vs. reading, I do both as I suspect many of us do, and I recall years ago talking soap opera storylines with the late Gary Provost. He said that kind of writing could teach a lot about story (and sometimes a lot about what not to do). Ted Lasso was a lesson in great storytelling. Thanks Keith!
Thanks for chiming in, Carol. I bet you’ll really enjoy season three!
Hi Keith. Ted Lasso must rope in its audience by being addictive. I know this because select members of my family make watching the show close to a condition of membership. So far, I’ve risked being shunned by not putting that needle in my arm–but only because I’m too cheap to subscribe to anything but Netflix. I have a question for you, though. After having devoted so much loving attention and so many words to the show, why would you call it “lightweight fare”? Obviously you don’t think it is, so please advise. P.S. I miss Bill Ferris. Clever, humorous writing is always in short supply, and I looked forward to his Saturday post.
Barry, the lightness to which I refer is in the overall tone of the show – in particular, its main character. But there’s a method to Ted’s hokiness: in one episode he confesses that he’s well aware of how people often underestimate him (and it’s clear he’s learned how to occasionally take advantage of that). If you ever see a discount pass for Apple TV – or if the show ever pops up on another network – I think you might enjoy it!
Hey Keith! I’m also a slow to watch viewer – we just finished Modern Family at my house this year – but were lucky enough to stumble on Ted Lasso thanks to our kids. I’m in awe of the character development and story arcs of the show. (Also thanks for The Diplomat rec – it was a big hit here!)
Hi Liz – glad to find another kindred fan of these shows!
That moustache! My son had one for a while and it evoked all kinds of unpleasant memories. Keith, I feel exactly as you do about sports in school, but gosh darn it, they do teach us many life lessons. Good movies have a lot to teach us about writing and although I’ve enjoyed some sports-themed movies (my husband loves sports) even with your glowing reviews, I doubt I could get roped into watching a recurring show about soccer players. Your binge watching reminded me how much I hate serials. As a child, it was excruciating having to wait an entire month to get the next installment of the story in the magazine we subscribed…and to this day, I avoid them (serials, not magazines). Thanks for your entertaining post. It lit up all sorts of things in my brain.
Vijaya, although each season of Ted Lasso has its own long overall arc, each of the episodes is pretty effective as a standalone piece of work, so if you ever get a chance to watch one, I hope you give it a try!
Well phooey. Now I can’t write about this in my post next week ;-) I’m a huge Ted Lasso fan — it’s the only show I’ve binged an entire season in one night. The sheer number of characters who get a deep and good character arc, and who grow in ways that I didn’t expect is impressive. And the one character I was not rooting for got what they deserved, all at their own hands. And it landed the ending. SO SATISFYING. I could list scenes and moments that were glorious and funny and moving, but it would be full of spoilers and I’d be here for an hour. Thank you for reminding me what I can learn from Ted Lasso as a writer :-)
Natalie, I *hope* you’re kidding, but I’ve definitely experienced that. I’ve been nearly done drafting a WU post, only to see somebody else post a similar topic a day or two before my scheduled post – and always something WAY better than I was working on. That definitely gets the heart rate up, and prompts some frantic rethinking and fast writing!
Totally not kidding. I was absolutely going to write about Ted. But no worries, I’ve landed on something that I think will be good :-)
I loved the show! As far as television goes, I’m a true crime addict (as a mystery writer, I justify it as “research”) and I seldom watch anything that could be described as a sit-com. However, in 2020 I had just subscribed to Apple TV and had seen so many social media comments about Ted Lasso that I decided to see what all the fuss was about. I watched the first season as it unfolded and found it absolutely delightful! I was lured back to Apple TV yesterday to watch Michael J. Fox’s “STILL” and I just might start watching more of Ted Lasso. Thanks for the reminder!
R.E. – although each season of Ted goes a different direction, I think you’ll enjoy continuing the journey!
Wow, Keith, what an endorsement! It’s been a long time since I saw a series I thought was as worthwhile as that. I’ve been avoiding it because it looked as vacuous as so much of the entertainment we are subjected to. Thank you, I’m gonna try it.
BTW, I think you’ll like Dances with Wolves.
Hi Bib – I understand your reluctance to “embrace the mustache.” Okay, that sounded WAY weirder than I meant it to.
Anyhooo….my suggestion would be to give it a couple of episodes, mostly to get used to the VERY different vibe this show has. While I can’t promise it will be your cuppa tea, it’s definitely not vacuous if you hang in there. Hope you enjoy it!
Fun piece, Keithster. Better late than never. The thing I loved about the show was that ABSOLUTELY EVERYBODY had an arc (except for the evil ex, though even he had to face his eventual diminishment — whether that’s a change or not, I’ll leave to the pros). This echoes your comments about growth and healing and therapy — crikey, even the therapist had an arc. Good points all around.
Now: have you checked out season 2 of Good Omens?
Thanks, Dave-a-rino! You’re right about absolutely everybody having an arc – even the young towel boy (or kit man, or whatever he’s called) who replaced Nate Shelley. And the funny thing is, it never becomes too much to process – it just makes the story richer.
Good Omens? Not on my radar. At least it wasn’t until you spoke up. I appreciate the tip!
Welcome to the Lasso-verse, Keith! Life is definitely more enjoyable here. ;-) Apple is worth the subscription IMO, and not just for this gem. Many of my favorite shows of the last couple years have been on Apple TV+. Thanks for reminding me of everything I loved about Ted Lasso. Might be time for a full rewatch. ;-)
Great to hear from you, Gwen – looks like you were way ahead of me! Like you, I’m pondering a re-watch.
But more importantly, what are some other Apple shows you’d recommend?
Here are the ones I’ve enjoyed the most. :-)
Slow Horses
Severance
Shrinking
Loot
For All Mankind
Bad Sisters
Watch the Sound with Mark Ronson
Home
Earth at Night
Coda (movie)
Spirited (movie)
Seconding Slow Horses, Severance (loved, loved, loved), Shrinking, Bad Sisters, and Coda. Must watch the others! (Thanks, Gwen!)
Great review! And thank you for holding back on the spoilers. I just started watching this show a week ago when, on the day before it expired, I accepted the offer that came with my new iPhone of a free 3-month subscription to Apple + TV. I had heard so much about the show that I figured there must be something there. I’m only four episodes in, but the spot-on cast of characters, the human connections, and Ted’s unabashed optimism have been a (yes) refreshing departure from the angst-inducing fare I’ve recently viewed (I’m concurrently watching Better Call Saul, which is also great but sparks anxiety in every episode). And so glad to hear I won’t be disappointed when it wraps up. I’ll add the series Longmire to one that missed the mark on finales.
Thanks, Jeanne. I need to try Better Call Saul on for size. I saw his character introduced in Breaking Bad, but finally had to bail on that series since it just took me over the edge in terms of dark subject matter. Is Saul any lighter? If not, I might not be up for it.
Back to Ted – the show tries some different directions during the course of its three seasons, but to me it continued to be worth tuning into. Hope you enjoy it as much as I did!
Longmire did end on a bit of an odd note, but the overall series was SO strong, I still consider it a fave. And at the risk of blasphemy, I felt that the overall “voice” of the show was actually better than the novels on which it was based. (Ducking and running after such a provocative suggestion…)
All of this masterful summary is why I have been dragging my feet over watching the last three episodes. Nothing else comes close.
Deb, I understand you intentionally slow-rolling towards the inevitable series end. I’m really not aware of any other show quite like Ted Lasso. But who knows? Maybe the show creators – and their network bosses – will heed the not inconsiderable outcry from fans for another season, or a spinoff… or both!
Thanks for this post, Keith. I had exactly the same reaction you did to Ted Lasso. You mentioned that every character had an arc and the writers weaved those into the story each week in a deft manner. One aspect of the show that fascinated me was Nate’s character arc. He went from lovable clubhouse guy, to assistant coach to a hated enemy and traitor. And he was nasty to Ted and Ted never returned fire and even forgave him. Nate’s arc and ulimate epiphany was one of the most satisfying moments of the show. Well done, Keith!
Chris, you are spot-on about Nate, who experienced possibly the most wide-ranging (and to me, surprising) arc out of any of the characters. Did you also notice how much he aged during the series? Most of the cast seemed frozen in time, and I think this whole story was supposed to take place over just 2-3 years, but Nate visibly aged as fast as some of our previous US Presidents!
Hi Keith, I’m a huge Ted Lasso fan and a huge Keith Cronin fan—but like you with Lasso, I’m late to the game here. Just wanted to add, in case you didn’t see the YouTube interview with Brett Goldstein about the show’s finale, that he said it was a bear to write. This was because Sudeikis insisted that every single character was rounded—no one was there simply to serve a role. Which meant that they all had to be squeezed into the finale somehow to suggest those arcs you (and most of us) were in such awe of! I can’t quite imagine what it must have been like in that writer’s room!
That’s a fascinating insight, Kathryn! As much as I love shows created in writers’ rooms, I don’t know if I’m cut out for that level of collaboration and compromise, so my hat’s off to those who can pull it off as well as this team clearly did.
I’ll confess, I’m dying to know whether that final written insight from one of the main characters is something they had up their sleeve the whole time, or a last-minute inspiration. No spoilers here as far as what that insight was, but if you know the details…. spill!