#to play these traits as shallow jokes or at best played out satire…. and then the same person will turn around

[milquetoad]

of the many injustices put forth toward the show by fans i think the most overall damaging and telling of a complete lack of critical viewership is the idea that sam riegel builds his characters with nothing more than the bit in mind. like you are only telling on yourself if you think characters like scanlan shorthalt and veth brennato are one-dimensional and depthless

[ecoorganic]

'Ted Lasso' and the Journey From Viral Promo to TV Series

Jason Sudeikis reprises his role as a befuddled coach in England, with his viral NBC promos evolving into a full-on TV show. He explains the story of how it happened.

There’s a scene in Ted Lasso, where the title character–Jason Sudeikis’s American football coach who abruptly turns into a Premier League manager–sprints to the assistant referee in the middle of a crucial match after raising his flag for an offside call.

“Come on, now! What do you mean? How’s that offside?” complains Lasso, with his characteristic Kansan drawl as the linesman looks at him with confusion.

“What?” asks the official.

Lasso gets closer. “No, I’m serious. How’s that offside...I don’t understand it yet.”

This lack of complete understanding and across-the-pond confusion is one way to describe the essence of Apple TV+’s latest sitcom, which originated from a 2013 NBC Sports promo. That's where Sudeikis introduced his character as part of the network’s acquisition of the Premier League broadcast rights. 

The idea was simple. Lasso, an intense, wide-eyed college football coach from Kansas City arrives in London and enters the alien world of the Premier League. In the promos, he takes over Tottenham (the following season,

he returns as head coach of youth girls' team St. Catherine Fighting Owls), questioning why players don’t wear more pads and teaching the art of flopping. He has no knowledge of the game or its cultural and historical significance. It was a satiric outlook at two different worlds seen through the eyes of a naïve American, and for NBC, it was a way to both attract a loyal, knowledgeable soccer fan as well as appeal to a new audience. 

In the end, it worked, as both promos (2013 and 2014) went viral and gained a tremendous amount of attention. Combined, the videos have generated more than 20 million views on YouTube and helped the network build a strong foundation for its Premier League audience.

It’s been six years since those promos aired, and soccer in the U.S.–without Ted Lasso–has grown tremendously in popularity. So how was the character revived? 

“I guess it’s a dozen little things that go right that you’re willing and ready to receive,” Sudeikis told Sports Illustrated. “After doing the second video (in 2014), it really unlocked elements of the character that we found very, very fun to write and portray and view the world through. So, one day in 2015, my partner Olivia (the actress and filmmaker Olivia Wilde) came up to me one day and said, ‘You know, you should do Ted Lasso as a show,’ and I said, ‘I don’t know,’ but then after marinating on it, I thought maybe this could happen.”

In spring of the same year, Sudeikis got together with his creative partners and writers, Joe Kelly and Brendan Hunt–the three of them started together with Chicago’s well-known improv group The Second City and Amsterdam’s Boom Chicago; Hunt also plays Lasso’s assistant coach and confidante Coach Beard–and powered through for a week to see if they could create a show out of it. 

“When you have a germ of an idea, you don’t know if it’s something you say out loud or if it’s a tweet or a letter or a screenplay, who knows," Sudeikis said. "So, we sat down, and we were able to bang out a pilot pretty quick in that week. As well as outlining six to 10 episodes of the first season. And that let us know, ‘O.K., there’s something here.’”

Despite the excitement for the idea, that’s all it was at that moment–an idea without a home. So, life continued, and the three friends left Ted Lasso alone for a few years and diverted their focus to their respective careers. 

“But that allowed us to get a little space from it, and low and behold, the showbiz gods looked and smiled down on us and brought Bill to our doorstep,” Sudeikis said.

"Bill" is Bill Lawrence, the experienced television writer, producer and creative force behind award-winning shows such as Scrubs, Cougar Town and Spin City. Lawrence entered the frame in 2017 when he and Sudeikis played pickup basketball a couple of nights a week and one night, the idea of Ted Lasso came up. After a few more chats, he read the script and the concept and was immediately interested. 

“I wanted to work with Jason Sudeikis, he just cracks me up. I thought he was awesome on SNL, whenever he shows up in a movie, I’m immediately into it and he seems like that dude you want to hang with,” Lawrence said. “I’d also seen those sketches, the promotional videos for the Premier League back when he did them and I thought they were so funny, and he said, 'What if we made that character three-dimensional and really rounded him out?' Ted Lasso can still be goofy and funny, but we could also have our version.”

And this was critical for Sudeikis. In the commercials, Lasso’s unawareness is funny and often endearing, but for a show, there had be more to him for the audience to not just laugh, but also root for him. 

“I think Scrubs is a fantastic show. You can put the 10 best episodes of it up against any show,” Sudeikis said. “Bill writes male characters and relationships so beautifully, his use of music and dealing with heavy duty issues of life and death. And now, two years later, here we are talking about it. It’s actually really gonna happen and I can’t kind of believe it.”

Not only is the show happening (it premieres this Friday), but it also succeeds in its mission. Ted Lasso is warm, it’s funny and–like the main character–it has heart. Unlike the commercials, where Ted’s biggest trait is his buffoonery, the show celebrates his relentless thirst for hope. He is a man with passion, dignity and someone you for whom you cheer. Lasso is the eternal optimist, whose naivety is both a strength and a weakness, and just like J.D from Scrubs, Lasso is vulnerable (in the show, he actually leaves the U.S. to escape from a troubled marriage) and aches for comfort. That’s what he offers his new team in return–an arrogant, underachieving Premier League side controlled by a scorned owner. It’s not Tottenham this time around, but the fictional AFC Richmond.

Lawrence sees Lasso as the perfect example of the inspiring teacher. A sports version of Robin Williams's John Keating from Dead Poets Society, where his personality is a weapon against cynical reporters and resentful fans who naturally express their disgust at the thought of an American with no knowledge of the game taking over their beloved club.

“We all grew up with a favorite teacher or a favorite coach. They put us on a path. These people never force you into doing anything. It’s just good folks,” Lawrence said. “Me and Jason overlap cause we also like doing shows with heart and because it’s such a dumpster-fire time in the world, Jason really wanted to do a show that was hopeful and optimistic, and most sports movies have that. That’s what's at their core. It’s the underdog. We were trying to capture that optimism and hopefulness that comes with those iconic figures from your life, whether it’s a coach, a teacher or a parent.”

If there's a coach in the real Premier League that emits optimism and hopefulness, it's Liverpool's Jurgen Klopp, and Sudeikis admits that Lasso's character in the show is partly inspired by him. 

“Man. When I heard about him taking his squad to go do karaoke, I was like, ‘hellooooo, story idea…’” said Sudeikis, who also admires Pep Guardiola. “I really love those coaches. I really like the way they handle themselves as leaders of an organization. They are guys who I would follow into a fist fight.”

Sudeikis loves the game but fully admits he still needs to do more before calling himself a hardcore, scholarly fan. 

"I love the sport. My joke has been that I have a deep appreciation for it but a shallow understanding. But that’s why I keep company with Brendan and Joe, who know their stuff,” Sudeikis said. “But it’s still all new to me. Every time I go to see a match, I buy a kit for me at the gift shop and a kit for my little boy. I’m ready to be a fair-weather fan for whoever needs it [laughs]. I know people hate for me that, but that’s the truth.”

The showrunners put together a cast with colorful characters who add depth to the multiple plots. There’s the tough-as-nails veteran midfielder Roy Kent (surely inspired by Roy Keane and played by Brett Goldstein), the narcissistic Man City loanee Jamie Tartt (Phil Dunster), the charismatic duo of Dani Rojas (Mexican star played by Cristo Fernandez) and Nigerian forward Sam Obisanya (Toheeb Jimoh). Nick Mohammed (who can be seen in Sky TV/Peacock’s Intelligence) also shines as the quiet kitman. It’s also refreshing to hear NBC’s Arlo White serving as the show’s commentator throughout AFC Richmond’s season.

But if there’s someone aside from Sudeikis's Lasso who steals the show, it’s Keeley Jones, the confident and no-nonsense TV celebrity/model/PR guru played by Juno Temple. She was the only actor who didn’t audition, as Sudeikis, who knew her work, wanted her in the show from the get-go. 

“I met Juno with Olivia when they were on Vinyl (Mick Jagger and Martin Scorsese’s 2016 HBO show), so I’ve done karaoke with her. I’ve been in a room with her. I knew her,” Sudeikis said. “She’s so fun and dynamic and just pro-female. She’s just a kick-ass that lives with an excitement that’s fun to be around, and that’s a little bit of what the character had.”

In the end, Ted Lasso is exactly what an audience needs right now. It’s a story that makes you laugh and reminds you to smile at adversity. It’s a lesson that’s less about football management and more about unity, and the script works because it takes a hold of our differences and embraces them as one. And it echoes Lasso’s favorite Walt Whitman quote, “Be curious, not judgmental.”

Lasso is heroic, not because he commands respect but because he earns it. He is kind, because he doesn’t know any other way. But like us, he is also vulnerable, and that’s why we can relate to his journey.

“He’s more white rabbit than white knight, but he’s actually becoming the change he wants to see in the world, without any agenda,” Sudeikis said. “And these days, that’s unusual, both in real life and on television.”

from Blogger https://ift.tt/2CirCh7

[theconservativebrief]

The first 30 seconds of the trailer for Insatiable, a new comedy series coming to Netflix on August 10, introduces the story of a chubby high schooler grappling with bullies, unrequited crushes, and the FOMO that comes from nights spent on the couch eating ice cream.

It’s all a fairly standard setup for what looks to be a show about modern teens — perhaps even one that, like Bo Burnham’s Eighth Grade, is benefitted by the fact that its lead looks more like an average high schooler than the glamorous 20-something stars of shows like Riverdale.

But then the trailer takes a turn. Patty, our main character, gets punched in the face, has her jaw wired shut for months, and thereby loses so much weight that by the time she goes back to school in the fall, she’s a bonafide (thin) hottie. It’s with this newfound power that she can apparently get her revenge on the kids who’d excluded her in the past.

[embedded content]

Because no one has officially reviewed the show yet, the trailer is all that we have to determine what the rest of Insatiable will look like and what themes it will deal with. But based on that one minute and 30 seconds, the reaction has been … not great.

Critics on Twitter and elsewhere have called the premise of the show fatphobic, triggering to people with eating disorders, and a regressive lens through which to view fat people’s stories. The Good Place star Jameela Jamil, who has advocated for body autonomy in the past, tweeted about how there’s a problem with implying that the only way to “win” in life is to diet:

Kids who bully are just miserable, badly raised arseholes. It is not, and should not ever be YOUR problem that they have a problem with you. You don’t have to conform. You don’t have to placate. Revenge isn’t a good use of your time and energy. And starving yourself is

— Jameela Jamil (@jameelajamil) July 20, 2018

Writer Roxane Gay also noted the trailer’s flawed logic that fat women can’t stand up for themselves and must undergo physical trauma to become their best, skinny selves:

Ahhh yes, a fat girl could never stand up for herself while fat and of course she has to be assaulted and have her mouth wired shut before she becomes her best self, her skinny self. Good to know!

— roxane gay (@rgay) July 22, 2018

There’s now even a Change.org petition that, as of publication, has garnered more than 145,000 signatures to stop Netflix from airing the show, on the grounds that releasing it will be damaging to young girls’ self-esteem and cause or trigger eating disorders.

One day after the trailer premiered, on July 20, Insatiable’s writer and producer Lauren Gussis defended the show against critics, writing that the inspiration was based on her own experience with an eating disorder as a teenager, and that comedy is a means of dealing with our vulnerabilities.

Star Debby Ryan, a former Disney Channel actress, took to Instagram to defend the show, writing that it was a satirical look at “how difficult and scary it can be to go to move through the world in a body,” and assured viewers that the humor is “not in the fat-shaming.” Alyssa Milano, who also appears in the trailer, said in a 30-minute Twitter video that she “totally gets” the backlash to the trailer, but hopes people will wait to see the full show before judging it.

This, above all, is what the creators and stars are attempting to communicate. But for people who are so accustomed to seeing their stories told onscreen via the same harmful tropes, the Insatiable trailer could be seen as just another exhausting example of the negative ways TV and movies portray fat people.

To understand why the Insatiable trailer hit such a nerve, you have to look at pop culture’s terrible track record of telling fat people’s stories.

On July 23, artist and writer Kiva Bay asked his Twitter followers to name the fat-hating moment in media that has stuck with them, starting with the scene in Harry Potter and the Chamber of Secrets when Aunt Marge inflates to such great proportions that she literally floats away.

Responses ranged from Bridget Jones being consistently described as fat (in the books, she weighs 130 pounds) to pretty much the entire premise of Pixar’s Wall-E, which depicts a futuristic dystopia in which everyone isn’t just overweight, but share the negative characteristics associated with being overweight: that they are lazy and stupid, and that all they care about is passively consuming whatever’s in front of them.

The problem persists even in media that’s often held up as progressive — many people in the thread called out Brooklyn Nine-Nine and Parks & Recreation’s recurring fat jokes, while others brought up the inherent fatphobia of shows like Gilmore Girls and 30 Rock in which objectively thin main characters have an obsession with unhealthy food.

A 2009 Jezebel piece described the “skinny glutton” phenomenon as “a sure indicator to the audience that these women are Single, Quirky and, (because they’re thin, only gently) Sad” because casting an actually fat actor in the role would, the thinking goes, be too pathetic.

The Insatiable trailer also reprises an especially troubling Hollywood practice: the fat suit. When a character actually is meant to be fat, instead of casting a bigger actor in the role, often a thin actor will wear a fat suit.

We tend to see them used in flashbacks to a time when a now-thin character was fat, like Monica in Friends, Schmidt in New Girl, or Ryan Reynolds in Just Friends. The “humor” comes not only from seeing actors wearing a silly costume, like Eddie Murphy in Norbit or The Nutty Professor, but also from the ability to crack jokes at a past character’s fatness with the knowledge that the present character is laughing now, too.

Few uses of fat suits, however, are more controversial than the 2001 film Shallow Hal, in which Jack Black plays a man who has to be hypnotized to find Gwyneth Paltrow in a fat suit sexy enough to be his girlfriend. Not only is the entire premise pretty gross, but, as a Telegraph piece noted after comparisons were drawn to the recent Amy Schumer film I Feel Pretty, the movie consistently uses fat bodies as punchlines:

“The camera linger[s] over every dimple and crease on the physical form of Ivy Snitzer, Paltrow’s body double, and contrasting the sight of Paltrow in revealing booty-shorts with a large woman spilling out of her clothes. Jokes are endlessly made about her appetite, while every chair Rosemary sits on appears perilously close to collapsing (it’s a sight-gag that is repeated twice on-screen, along with a deleted scene involving a caved-in bed).”

That contrast — the visual of the character wearing a fat suit versus the character without it — can have the effect of implying that fatness, when constantly compared to the superior thinness, is grotesque and deserves to be laughed at.

That’s the history Insatiable is drawing on when it puts Debby Ryan in a fat suit, regardless of intention.

And there is yet another pattern that Insatiable seems to fall into: the idea that weight loss is the road to happiness. Friends’ Monica and New Girl’s Schmidt are both characters who don’t accomplish their goals until they lose weight. The entire wellness industry is based around this false promise — that losing weight is the key to getting whatever you’ve always wanted, whether that’s love, money, or revenge. (See: Khloe Kardashian’s extremely on-the-nose reality series, Revenge Body.)

In an essay for Medium titled “To the writers of Insatiable,” fat activist and writer Your Fat Friend wrote about the problem with this narrative, pointing out that not only do 97 percent of dieters gain back what little weight they lose (or more), but that weight loss is often the only narrative that fat people get to have.

She continues:

I have never seen a fat life like mine on screen. I have not seen fat people recklessly, happily in love, as I have been. I have not seen thin partners struggle to accept their own attraction to fat people. I have not seen fat people getting promoted, getting fired, working hard, succeeding. I have only seen fat people fail. Anything else, I have learned, is reserved for the penitent thin.

In short, fat characters are defined entirely by their fatness, and only get to become multi-dimensional once they lose the weight. It’s a trope that the Insatiable trailer even touches on in a meta way: When Patty returns to school, newly thin, she muses, “Now I could be the former fatty who turned into a brain, or an athlete, or a princess,” as if these character traits can’t apply to fat people because their main identifier is already “fat.” Until we see the show, it isn’t clear where this strain of self-awareness’s endpoint lies, or how far the series will take its meta-understanding of fat tropes, but it could be a promising sign.

So yes, the Insatiable trailer, as of right now, is still just a trailer; there’s still a whole show to come and be watched and discussed, starting on August 10. But many viewers are worried that the groundwork seems to be laid for a series about the same stories of fat people we’ve seen thousands of times over.

And though its stars and creators promise the show is an empathetic look at the pressures modern teenagers face surrounding body image, well, don’t we already sort of … know them? Above all, what’s necessary is an empathetic look at fat people in general: one that ideally doesn’t involve weight loss — and certainly no fat suit.

Original Source -> Why 150,000 people are calling for Netflix to cancel the teen comedy Insatiable before it debuts

via The Conservative Brief

[ecoorganic]

'Ted Lasso' and the Journey From Viral Promo to TV Series

Jason Sudeikis reprises his role as a befuddled coach in England, with his viral NBC promos evolving into a full-on TV show. He explains the story of how it happened.

There’s a scene in Ted Lasso, where the title character–Jason Sudeikis’s American football coach who abruptly turns into a Premier League manager–sprints to the assistant referee in the middle of a crucial match after raising his flag for an offside call.

“Come on, now! What do you mean? How’s that offside?” complains Lasso, with his characteristic Kansan drawl as the linesman looks at him with confusion.

“What?” asks the official.

Lasso gets closer. “No, I’m serious. How’s that offside...I don’t understand it yet.”

This lack of complete understanding and across-the-pond confusion is one way to describe the essence of Apple TV+’s latest sitcom, which originated from a 2013 NBC Sports promo. That's where Sudeikis introduced his character as part of the network’s acquisition of the Premier League broadcast rights. 

The idea was simple. Lasso, an intense, wide-eyed college football coach from Kansas City arrives in London and enters the alien world of the Premier League. In the promos, he takes over Tottenham (the following season,

he returns as head coach of youth girls' team St. Catherine Fighting Owls), questioning why players don’t wear more pads and teaching the art of flopping. He has no knowledge of the game or its cultural and historical significance. It was a satiric outlook at two different worlds seen through the eyes of a naïve American, and for NBC, it was a way to both attract a loyal, knowledgeable soccer fan as well as appeal to a new audience. 

In the end, it worked, as both promos (2013 and 2014) went viral and gained a tremendous amount of attention. Combined, the videos have generated more than 20 million views on YouTube and helped the network build a strong foundation for its Premier League audience.

It’s been six years since those promos aired, and soccer in the U.S.–without Ted Lasso–has grown tremendously in popularity. So how was the character revived? 

“I guess it’s a dozen little things that go right that you’re willing and ready to receive,” Sudeikis told Sports Illustrated. “After doing the second video (in 2014), it really unlocked elements of the character that we found very, very fun to write and portray and view the world through. So, one day in 2015, my partner Olivia (the actress and filmmaker Olivia Wilde) came up to me one day and said, ‘You know, you should do Ted Lasso as a show,’ and I said, ‘I don’t know,’ but then after marinating on it, I thought maybe this could happen.”

In spring of the same year, Sudeikis got together with his creative partners and writers, Joe Kelly and Brendan Hunt–the three of them started together with Chicago’s well-known improv group The Second City and Amsterdam’s Boom Chicago; Hunt also plays Lasso’s assistant coach and confidante Coach Beard–and powered through for a week to see if they could create a show out of it. 

“When you have a germ of an idea, you don’t know if it’s something you say out loud or if it’s a tweet or a letter or a screenplay, who knows," Sudeikis said. "So, we sat down, and we were able to bang out a pilot pretty quick in that week. As well as outlining six to 10 episodes of the first season. And that let us know, ‘O.K., there’s something here.’”

Despite the excitement for the idea, that’s all it was at that moment–an idea without a home. So, life continued, and the three friends left Ted Lasso alone for a few years and diverted their focus to their respective careers. 

“But that allowed us to get a little space from it, and low and behold, the showbiz gods looked and smiled down on us and brought Bill to our doorstep,” Sudeikis said.

"Bill" is Bill Lawrence, the experienced television writer, producer and creative force behind award-winning shows such as Scrubs, Cougar Town and Spin City. Lawrence entered the frame in 2017 when he and Sudeikis played pickup basketball a couple of nights a week and one night, the idea of Ted Lasso came up. After a few more chats, he read the script and the concept and was immediately interested. 

“I wanted to work with Jason Sudeikis, he just cracks me up. I thought he was awesome on SNL, whenever he shows up in a movie, I’m immediately into it and he seems like that dude you want to hang with,” Lawrence said. “I’d also seen those sketches, the promotional videos for the Premier League back when he did them and I thought they were so funny, and he said, 'What if we made that character three-dimensional and really rounded him out?' Ted Lasso can still be goofy and funny, but we could also have our version.”

And this was critical for Sudeikis. In the commercials, Lasso’s unawareness is funny and often endearing, but for a show, there had be more to him for the audience to not just laugh, but also root for him. 

“I think Scrubs is a fantastic show. You can put the 10 best episodes of it up against any show,” Sudeikis said. “Bill writes male characters and relationships so beautifully, his use of music and dealing with heavy duty issues of life and death. And now, two years later, here we are talking about it. It’s actually really gonna happen and I can’t kind of believe it.”

Not only is the show happening (it premieres this Friday), but it also succeeds in its mission. Ted Lasso is warm, it’s funny and–like the main character–it has heart. Unlike the commercials, where Ted’s biggest trait is his buffoonery, the show celebrates his relentless thirst for hope. He is a man with passion, dignity and someone you for whom you cheer. Lasso is the eternal optimist, whose naivety is both a strength and a weakness, and just like J.D from Scrubs, Lasso is vulnerable (in the show, he actually leaves the U.S. to escape from a troubled marriage) and aches for comfort. That’s what he offers his new team in return–an arrogant, underachieving Premier League side controlled by a scorned owner. It’s not Tottenham this time around, but the fictional AFC Richmond.

Lawrence sees Lasso as the perfect example of the inspiring teacher. A sports version of Robin Williams's John Keating from Dead Poets Society, where his personality is a weapon against cynical reporters and resentful fans who naturally express their disgust at the thought of an American with no knowledge of the game taking over their beloved club.

“We all grew up with a favorite teacher or a favorite coach. They put us on a path. These people never force you into doing anything. It’s just good folks,” Lawrence said. “Me and Jason overlap cause we also like doing shows with heart and because it’s such a dumpster-fire time in the world, Jason really wanted to do a show that was hopeful and optimistic, and most sports movies have that. That’s what's at their core. It’s the underdog. We were trying to capture that optimism and hopefulness that comes with those iconic figures from your life, whether it’s a coach, a teacher or a parent.”

If there's a coach in the real Premier League that emits optimism and hopefulness, it's Liverpool's Jurgen Klopp, and Sudeikis admits that Lasso's character in the show is partly inspired by him. 

“Man. When I heard about him taking his squad to go do karaoke, I was like, ‘hellooooo, story idea…’” said Sudeikis, who also admires Pep Guardiola. “I really love those coaches. I really like the way they handle themselves as leaders of an organization. They are guys who I would follow into a fist fight.”

Sudeikis loves the game but fully admits he still needs to do more before calling himself a hardcore, scholarly fan. 

"I love the sport. My joke has been that I have a deep appreciation for it but a shallow understanding. But that’s why I keep company with Brendan and Joe, who know their stuff,” Sudeikis said. “But it’s still all new to me. Every time I go to see a match, I buy a kit for me at the gift shop and a kit for my little boy. I’m ready to be a fair-weather fan for whoever needs it [laughs]. I know people hate for me that, but that’s the truth.”

The showrunners put together a cast with colorful characters who add depth to the multiple plots. There’s the tough-as-nails veteran midfielder Roy Kent (surely inspired by Roy Keane and played by Brett Goldstein), the narcissistic Man City loanee Jamie Tartt (Phil Dunster), the charismatic duo of Dani Rojas (Mexican star played by Cristo Fernandez) and Nigerian forward Sam Obisanya (Toheeb Jimoh). Nick Mohammed (who can be seen in Sky TV/Peacock’s Intelligence) also shines as the quiet kitman. It’s also refreshing to hear NBC’s Arlo White serving as the show’s commentator throughout AFC Richmond’s season.

But if there’s someone aside from Sudeikis's Lasso who steals the show, it’s Keeley Jones, the confident and no-nonsense TV celebrity/model/PR guru played by Juno Temple. She was the only actor who didn’t audition, as Sudeikis, who knew her work, wanted her in the show from the get-go. 

“I met Juno with Olivia when they were on Vinyl (Mick Jagger and Martin Scorsese’s 2016 HBO show), so I’ve done karaoke with her. I’ve been in a room with her. I knew her,” Sudeikis said. “She’s so fun and dynamic and just pro-female. She’s just a kick-ass that lives with an excitement that’s fun to be around, and that’s a little bit of what the character had.”

In the end, Ted Lasso is exactly what an audience needs right now. It’s a story that makes you laugh and reminds you to smile at adversity. It’s a lesson that’s less about football management and more about unity, and the script works because it takes a hold of our differences and embraces them as one. And it echoes Lasso’s favorite Walt Whitman quote, “Be curious, not judgmental.”

Lasso is heroic, not because he commands respect but because he earns it. He is kind, because he doesn’t know any other way. But like us, he is also vulnerable, and that’s why we can relate to his journey.

“He’s more white rabbit than white knight, but he’s actually becoming the change he wants to see in the world, without any agenda,” Sudeikis said. “And these days, that’s unusual, both in real life and on television.”

from Blogger https://ift.tt/2CirCh7