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sylvies-chen · 1 year

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okay I’ve refrained from posting my thoughts on the ted lasso finale until now in the interest of making sure they’re expressed properly so that people understand how correct my opinions actually are. but I’m here and I’m queer and LET’S DO IT FOLKS:

TED LASSO FINALE THOUGHTS

THE GOOD:

Nate!! Nate was a timid, sweet note in this episode. It was such a gentle little reintegration of his character back into the team and seeing him get a secure happy ending after all that time of insecurity was the part of the episode that provided the MOST payoff. Seeing Nick Mohammed’s post about Nate and his family life and understanding how much he put into that character was so beautiful to see too. I adore actors who very publicly (and in a nerdy way) love their craft!

His conversation with Ted also made me cry like I have never cried before.

COLIN KISSED HIS FELLA AFTER A WIN!! Ugh such a beautiful payoff and full circle moment for him, I was truly squealing with joy <3

The team’s rendition of So Long, Farewell had me GIGGLINGGG oh my god, I’m a die hard Sound of Music fan so I loved it! I would have maybe liked a little more emotion from Ted, I felt like his reaction was kind of… meh? meek? but other than that the song itself was FANTASTIC.

Obviously I love that they won the game, duh

They also had a lot of really amazing and thoughtful callbacks in this episode, like Keeley’s parallel to her entrance in the pilot was great, Ted’s bbq sauce mantra, Nate leaping into Ted’s arms, the ussie guy, the winning play being the play from season 1. All of those little moments showed a strong attention to detail I truly loved.

I love that Rupert made HIMSELF unlikeable in the end. Rebecca didn’t need to ruin his life; she stopped caring and soon saw he was doing a perfectly fine job of doing it himself. Karma truly is Rebecca Welton’s boyfriend!! Or is it?

Jake the motherfucking client seducer over here turning out to be a total dud like yesss!! I don’t want Ted and Michele back together by any means but fuck that guy lol, glad to see she and Henry were getting sick of him

BELIEVE. 😭

Which leads me to…

THE BAD:

I know you all know I ship Tedbecca, but this is truly not coming from a shipper standpoint when I say that that first scene of them was absolute BAIT. It was pretty disappointing because I know Ted Lasso’s been prone to red herrings and fakeouts every now and then but I didn’t take it as a show that would truly bait their fans with something like that??

I don’t care if I’m biased, I don’t care if the writers were trying to be avant-garde with their ending for rebecca, I’ll say what I’m about to say a million times: writing off 1 of your 2 most main characters into a happy ending with a man whose name the audience doesn’t even know is literally never a good writing decision. I think this should be obvious.

I have no hate to Boat Guy, Rebecca’s whole thing with him was basically the plot of Before Sunrise + Before Sunset (all hail Richard Lanklater) if someone watched those movies and then tried condensing them into fifteen accumulated minutes of television

Keeley, Roy, Jamie… they did you three so fucking dirty my babes. Keeley you especially. I’m beyond disappointed, bordering on genuinely hurt, by how much they screwed up Keeley and all of her adjacent storylines this season.

I loved RoyKeeley so much in seasons 1 and 2, they had such a sweetness and a magic to them. There were so many elements like that to season 1 and 2 that I feel the writers gave up on in the name of growth or… honestly, at this point, I don’t know why they did this. Roy was a little insecure in seasons 1 and 2, but I never felt like he was needy. It felt so cruel to have shown us RoyKeeley in all of these moments of such stability, such healthiness, and such genuine love for so long and then rip it away for some version of Roy Kent that felt hollow, twisted, and who just Did Not Get It. It makes me so sad.

It makes me sad for Jamie too. Him falling for Keeley again was like the last thing I needed to see from his character. There’s so much else they could have done with him, and instead they took that beautiful moment of him being accountable and respectful with Keeley and the tape, and they turned it into something ugly: they had him weaponize it as a bargaining chip against Roy.

I don’t understand why they thought having our favs engaged in this very sexist outdated convo with such possessive language in the name of comedy was a good idea. I get it was poking fun at them but it was the kind of fun that shouldn’t have to be poked at by now. They’re not these men, I don’t recognize this version of them. It’s such a regression.

speaking of weird and uncomfortable shit being played off for laughs… beard and jane got married! ted wasn’t even there! she shredded his passport to keep him in captivity! how creepy! (see the joke is that they’re crazy and do toxic things to each other. you’re supposed to laugh.)

#ted lasso #abby meta #roykeeley #roy kent #jamie tartt #keeley jones #tedbecca #rebecca welton

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chainofclovers · 3 years

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Ted Lasso 2x10 thoughts

GOOD GOD.

“No Weddings and a Funeral” is like being hungover but also coming out of a hangover. Having a terrible cold but also feeling better and appreciating every breath that comes through your nose. Embarking on an organizational project and accidentally falling into a photo album and crying about the pictures and organizing almost nothing tangible but making a few things more clear in your brain.

So much of this episode is about the AWFUL POINTLESSNESS OF DECORUM. How loud is too loud when you’re drinking stolen wine and shrieking about sex in a church right before your father’s funeral? How should you feel--thirty years later, as an accommodating, anger-averse person--about having been too angry to attend the funeral for your father who killed himself? What expression should you make when you show up really late to a different funeral? Why must you wear uncomfortable shoes just because someone died? What happens in your mind between standing up to give a eulogy for a man you’re still angry with and choosing to Rick Roll your mom and everyone else as an act of complicated love, humiliatingly incomplete until someone else starts to sing? Should you worry about your therapist seeing your normally tidy flat in a full-on state of depression mess? Is it okay to be offended that your boyfriend is so uncomfortable about death that he can’t stop making morbid jokes? Should you care about other people caring that you’re crunching an apple in church or squealing with joy to be reunited with a friend you’ve not seen in awhile? Are you obligated to explain your behavior if your kid doesn’t understand how you could stay with someone unfaithful? How far behind the counter should you sink when your [undefined relationship person]’s mother has just let you know she can see your dick through your underwear? Is a funeral reception an okay place to find a hookup? Is a funeral reception a decent spot for a break-up? Is a funeral reception a good time for a love confession when you know the person you’re confessing to is happy with someone else? And who do you make eye contact with when you can’t look directly at the person asking you if you’re okay when there’s so, so much about you she doesn’t know yet? Even if--for this tiny little moment within a vast swath of many okay and not-okay moments--you’re honest when you tell her that you are?

I fucking adored this episode because it answers all these questions very simply: Show up. Show up for yourself. Show up for your friends. Try not to harm yourself. Try not to harm your friends.

I love that this episode is about the messiness of adulthood and the things we bring with us from childhood and that it takes place partially in Rebecca’s childhood bedroom, and in Ted’s childhood memories. Dwelling in those places (whether physically or mentally) isn’t an automatic recipe for regression, but it does get everyone closer to the things that made them who they are, to the unresolved and half-buried parts of them that still make them tick today.

Forever obsessed with every single detail about Rebecca’s childhood bedroom.

Forever obsessed with Deborah’s decision to Rick Roll herself every single morning of her life.

Forever obsessed with Rebecca’s decision to Rick Roll her father’s funeral as a way to not have to make up a single word about her father and to do something very vulnerable and kind for herself and her mother and everyone.

Forever obsessed with Ted’s decision to Rick Roll Rebecca Rick Rolling her father’s funeral.

Forever obsessed with an entire found family backing it up.

I love that it is Isaac’s leadership that ensures every single member of the team attends the service for Paul.

I am very, very interested in Jamie’s love confession to Keeley because I do think it will spark some reflection in Keeley but I do not think it’ll go the cliched love triangle route.

Each scene with Rebecca and Sam struck (for me, a human being sharing a subjective perspective on the internet) the tender-awkward-beautiful-stressful chord I was hoping it would. I think it’s wonderful that Sam is honest with Rebecca about how difficult it is to keep their relationship a secret, and I love that Rebecca has a million mostly-unarticulated reasons for why she’d much prefer the secret to continue. I like that Sassy, Keeley, and Nora respond to the revelation as friends; they might be tempering their judgments in part because they’ve all gathered to bury Rebecca’s dad, but I don’t think their reactions would’ve been that different even on a happier occasion.

While there are a million and one different reasons why a continued relationship between Rebecca and Sam could cause serious ethical problems, I really love that when people share big news on this show, the people who care about them generally react by trying to see why the person is doing what they’re doing. Doesn’t mean they shouldn’t also hold each other accountable, but in my book it’s OK that Keeley’s first reaction was to feel happy that her friend is having some fun.

Also everyone has been making weird judgment calls this season, and this episode felt like a moment of real breakthroughs in terms of people telling the truth about things that happened to them and leaving themselves open to honest responses from others.

September 13, 1991. It’s so tenderly, beautifully, overwhelmingly meaningful that there’s still so much Ted and Rebecca don’t know about the things they have in common in these parallel lives they’re leading. The scene between Sarah Niles and Jason Sudeikis is so beautifully acted, and so is the scene between Hannah Waddingham and Harriet Walter. The way they intertwine to communicate that Ted and Rebecca basically lost the ability to trust their fathers simultaneously, from an ocean away? In the hands of lesser storytellers, it would feel too perfect a mirroring, but here it feels heartbreakingly imperfect. All the things they still don’t know. All the questions they try to ask each other. All the things they don’t dare ask yet. And then the storytellers are holding a candle up to all of it and letting the audience bask in the glow of this connection even if Ted and Rebecca can’t fully understand it yet.

I am so proud that Rebecca and Deborah were able to embark on the beginnings of a conversation about the ways Deborah and Paul’s relationship might have resembled or not resembled Rebecca and Rupert’s. It feels possible that they could get to a point where Rebecca truly internalizes her mother’s pride that she broke a cycle by leaving Rupert, and could maybe even understand why her mother made the choices she made. I love that in the final scene, they’re still relying on their old mother-daughter conversational patterns—the frustrations, the snippy shorthand, the passive-aggression. Mothers and daughters!

I am also proud that Ted—albeit via a joke about Sharon charging him for the house call—indicates that he understands the value of Sharon’s work. He’s changed a lot, all in realistic ways for someone who loves learning and really does want to meet people where they are and appreciate them. I’m very moved that instead of putting himself in a real harmful situation by showing up to the funeral on time at any cost, he did what he needed to do to take care of himself and accept care from someone else. And then Sharon’s suggestion that he think about things he loved about his father? And the way he’s able to share a positive memory of Rebecca’s own father at a time when she really needed it? Gosh.

Awkward, undecorous transition from 1991 to present-day incoming...but SASSY! She’s just, like, a whirling dervish of loyal friendship and not giving a fuck and penis size discussions and being casually, delightfully cruel to Rupert, who so deserves it. Rebecca was going on a real face journey when Sassy goes off with Ted at the end, and I’m sort of *eyes emoji* about all of that, but I continue to feel like Sassy is the most imperfectly wonderful friend-from-the-past kind of person and I love everything she and Nora get to do in this episode.

Keeley saying “That baby is whack” might be my favorite line in the episode? Maybe the whole show? Not really but really.

FUCK YOU, RUPERT. Bex and Diane, y’all are fine. And I truly feel for Nate...whatever scheme he’s getting suckered into. Whatever insecurity Rupert is preying on. I want Nate to go to therapy, too.

I feel like it was an unpopular opinion at the time, but I loved Rebecca’s 2x1 revelation about vulnerability and fear of getting hurt and needing to let someone love her. Sassy doesn’t always word things in the most nuanced way, but I think there’s a real possibility that she did ask Rebecca to really consider what it means to feel either safe or unsafe with a person but to know that in either circumstance, that person could end up causing her pain. Standing in that closet with Sam, managing to make it clear that she’s not asking for a break because she knows he will hurt her but because she has to figure out how to be with a wonderful person who could cause her pain...the growth, man. Makes me emotional.

I emerged from this episode feeling, of course, stunned by all the amazing parallels and revelations and beautiful acting and Rick Rolls and just, everything. I also emerged feeling sad/raw/tender because messiness and decorum and growth and coping mechanisms and death and dramatic irony and not knowing things about people and not knowing what you don’t know...it’s a sad, raw, tender place to be.

To quote a guy who got a whole sitcom (lol) named after him, life is real hard.

#ted lasso #ted lasso s2 spoilers #meta by me #ted lasso 2x10 #a lesbian watches ted lasso #lotta feelings in here y'all #cw suicide

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masterthespianduchovny · 3 years

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Ted Lasso’s reputation as a wholesome, nice, feel good show at times comes at its expense. This isn’t the fault of TL, but rather:

1. People who literally judge or write the show off based on these three descriptors. They think they know exactly what the show is about and how it’s going to play out and they don’t.

2. People who literally watch the show yet don’t understand it. These past weeks I’ve come to understand that some people who’ve watched the show either miss/don’t comprehend things OR fundamentally don’t understand the show.

I’m unsure if this is some type of media illiteracy for the second point, but I literally had to break down how the show works to someone who was shitting on it. Don’t get me wrong, people are allowed to dislike the show. That doesn’t bother me. However, when your criticisms either come from a lack of knowledge or the inability to understand how the show is structured, there needs to be an intervention.

In my honest opinion, I don’t think the foundation of the show is comedy nor is it drama, the genre of the show is influenced by Ted’s emotional state. It’s labeled as comedy for all intents and purposes, but observe how the tone/genre of the show largely matches Ted’s highs and lows. Some may say that’s normal, but I think there is a nuance here that’s missing.

A fan or fans pointed out that this season isn’t funny and that’s because Ted isn’t funny (again, the show is mimicking Ted’s emotional state); most of his jokes do not land. He’s trying way to hard and not at all at times, which is intentional.

He’s overdoing it and people are saying it’s bad writing when, in fact, it’s very good writing. We see more and more how Ted is missing things, behaving oddly around the therapist, internalizing shit, etc AND refusing help aka avoiding Rebecca presumably. Something is wrong and only one person notices this and Ted tried to pretend he was fine.

This show has noticeably become darker, which typically doesn’t happen to alleged feel good comedies. When it does, it’s like an episode or two, but in the case of TL, it’s steadily been doing this season the first episode of season 2. Furthermore, it introduced many of these themes and plot lines on season 1.

The show has also made us re-examine many “funny” moments and assess if there is a different context behind what we believed we knew and saw.

The show for the most part has been very internally consistent because it’s never been bound by it’s genre.

It’s quite ironic and sad that one of the most repeated and (at times inappropriately used) iconic lines “be curious not judgmental” is only applied to assholes and shit behavior rather than super nice/people pleasers, such as Ted.

It reminds me of the poem “Not Waving But Drowning”, which I’ll copy and paste at the end. The title is essentially “on the tin”, but basically it’s about someone drowning and people not going to help because they thought this person was happy go lucky and waving at them. The person didn’t have any help while they were in a crisis because people missed the signs. Which pretty accurately describes what’s going on with others see Ted MINUS Rebecca.

Lastly, the show is an examination and deconstruction of niceness for better and worse. What does it mean to be nice? What drives people in how they treat others? It’s not saying niceness is the cure for everything and that it will fix us, it’s saying we should start with kindness. We should try to understand what’s going on and be sympathetic.

Hell, I don’t even think it’s saying everyone can be redeemed (aka Rupert as of now). It’s saying that when we try to be better people, not immediately give up on someone, and understand that other people have different experiences, that is something that can help us connect and understand one another better.

But we are all flawed and it takes accountability and hard work to right out wrongs. Not all is forgiven just because we see the error of our ways. We have to actively towards forgiveness not matter how hard.

What’s interesting about Ted is that he’s the catalyst behind this change in AFC Richmond, however, he’s one of the fundamentally misunderstood people on the show, which is intentional on his end. He hides what’s really going on with him because not even he wants to see it. His kindness is driven by genuineness, but also trauma from his dad’s death and bullying. It’s gotten so bad to the point that it’s pathological for him to be nice to the detriment of himself as he suppresses his own traumas.

People (un) intentionally use him and don’t reciprocate most of the time. To be fair to them, Ted wants it that way. Except they also aren’t paying attention. Yes, everyone has their own problems, but how is no one curious about the man who is always “happy” that just got a divorce and is separated from his kid most of the time? Who flat out admitted to that he took a job across the ocean for a sport he knew nothing about to give his wife space? Or that he had a panic attack during a major game?

At this point, Ted isn’t hiding his struggles all that well, yet only Rebecca realizes that he isn’t well.

Ironically, some fans use Ted Lasso as their feel good show all while overlooking what the show is trying to say about certain behaviors and relationships.

Although it takes nothing to be nice, don’t make others responsible for your happiness whether you are the giver or the receiver. It does no one any good.

Ted thinks helping others and avoiding his own problems will make him happy and it doesn’t. Even when his marriage was good, it was a band aid for his problems. As a result, he started unraveling because he wasn’t fixing things or fixing enough things and people.

The show is saying a lot and through subtext and nuance, which is being ignored because the show isn’t what people assumed it was. This show doesn’t exist to help people escape from their own problems and/or the pandemic. Like, it’s nice that it did for some, however, we have to allow the show to tell the story it wants to tell. They never misled anyone about the nature of the show.

On the other hand, the show has helped people who see parts of themselves in Ted and either want to get help or finally understand that some of their behavior are maladaptive and detrimental to themselves.

Some people are seeing what they want to see and projecting on the show (as they do many) and are criticizing TL for what it isn’t, rather than understanding what it is.

TL has many compelling things to say, but since it isn’t behaving how people want it to, they can’t engage meaningfully with the show, which is unfortunate.

——-

“Not waving but drowning”

Nobody heard him, the dead man,

But still he lay moaning:

I was much further out than you thought

And not waving but drowning.

Poor chap, he always loved larking

And now he’s dead

It must have been too cold for him his heart gave way,

They said.

Oh, no no no, it was too cold always

(Still the dead one lay moaning)

I was much too far out all my life

And not waving but drowning.

#ted lasso #ted lasso discussion

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schraubd · 3 years

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Should I PlagueWatch It?: Series Finale!

In March 2020, I inaugurated on this blog what I said "may but hopefully won't(?) become an ongoing series": Should I PlagueWatch It? Basically, it took the thing Jill and I do best -- watch TV -- and offered our recommendations for what you should watch to get you through the pandemic.

Over a year later, Should I PlagueWatch It? did, indeed, become a series. In addition to the first entry -- HBO's Avenue 5 -- I also did entries on Gentleman Jack, Marvel's Runaways, Alpha House, Never Have I Ever, Jelle's Marble Runs, Making the Cut, and a "roundup" post that covered Billions, Insecure, Marvel's Agents of S.H.I.E.L.D., Ultimate Tag, Titan Games, and Holey Moley.

But now, it feels we're finally closing the chapter on the pandemic. Jill and I are vaccinated, my parents came to visit this past weekend, we're seeing friends, the CDC says we can go unmasked. It seems, alas, that all good things must come to an end. And while the pandemic itself is certainly not a good thing, some of us may be feeling a bit bittersweet at the prospect of being expected to interact with other humans rather than sit around and watch Netflix all day.

So to wrap up the series, one more omnibus "quick hits" review of all the shows we PlagueWatched that haven't yet gotten their own entry.

* * * Mild spoilers * * *

Blown Away

Reality TV can be wonderful in its formulaicness. Take a random hobby, find ten people who are pretty good at it, dangle $50,000 in front of them, and bang, you've got a competition show. This one's about glass blowing. I know nothing about glass blowing, but the competitors seem pretty talented to me?

I was impressed at how versatile a medium glass is. I worried when I started the show that the challenges would end up being pretty one note (how many vases can one make?). But the competitors actually made a lot of really cool material!

There's a lot of running and swinging and flailing given that they're handling molten-hot material. It stressed me out. Also, apparently "glory holes" are an essential part of glass blowing, and nobody made a joke about it.

This show is definitely more in the "everyone likes and supports one another" mold of reality TV compared to the "constant cat fights and 'I'm not here to make friends'" mold. No judgment, just letting you know what to expect.

Sexify

A Netflix series about a young college student with no sexual experience who decides she needs to develop an app to optimize the female orgasm. It's not the most innovative concept, but it works well enough.

Of the core trio, my favorite character is Paulina -- the religious Catholic best-friend who is having (bad) sex with her fiancé and feels guilty about even that sin. She does a lot of great expressive work and has some superb character beats (her popcorn addiction -- just casually munching away while watching porn).

Speaking of Paulina, at the outset I told Jill she looked like someone and Jill's first guess was "a plainer Emily Blunt" (that's not an insult -- who isn't plainer than Emily Blunt?). It wasn't who I was thinking of, and soon I realized the answer was like six women I've known over the years. So maybe "plainer Emily Blunt" is a more common face than I realized?

The show is in Polish (with subtitles), and I'm very proud that I managed to identify the language as Polish right away (I do not speak a word of Polish).

The musical motif for the show combines one of the catchiest guitar riffs I've ever heard with a sample loop of a woman's sex moans. It fits the show perfectly, but it's a bit awkward to listen to on its own.

Wandavision

You shouldn't need me to tell you about this show. It's good, but my hottest take -- and I stand by it -- is that as an exploration of grief Never Have I Ever does it better and it's not close.

Can we concede that Wanda is the unambiguous villain of the show? With only the barest shift in perspective, Wanda could be the nemesis with an admittedly sympathetic motive. To some extent, I think the show was far too forgiving of her. Motives aside, how different is she from Kilgrave on Jessica Jones?

Poor Emma Caulfield. So much build-up for her character, and it's only a head-fake.

Space Force

I liked it. It's not in the most elite of the elite comedies, and maybe that's the standard when Steve Carrell is the lead, but it was quite funny. That said, I keep on almost forgetting that I watched it, and have no substantive commentary to offer. So take from that what you will.

AOC lookalike alert (the character even gets the nickname AYC -- "Angry Young Congresswoman")!

Mythic Quest

I love that Ubisoft is actually involved in the show (which is set at a game studio producing a popular massively multiplayer online RPG).

Surprisingly, given my love affair with Community, Danny Pudi is one of the least interesting characters on the show.

The actress who plays Poppy isn't the very strongest (though she's improving), but Poppy herself may be my favorite character. Of course, everyone knows I'm a sucker for an Australian accent.

The show has some great characters in side parts who don't get enough attention, like Sue the community manager and Carol the HR director. Also, Aparna Nancherla has a small recurring role in the first season and apparently doesn't come back for season two? I don't get why she keeps getting sidelined like this -- she's funnier than the rest of the cast put together.

Ted Lasso

Good, sweet, endearing, fun. British soccer comedies with heart are a winner for me (Bend It Like Beckham, anyone?).

Ted's estranged wife is played by the same actress who plays Linda in Better Off Ted. This was very strange, though admittedly I'm probably the only person who cared enough about Better Off Ted to notice or care.

Lupin

Dashing gentleman thief who's always a step ahead of his adversaries, except maybe the one nemesis who actually can match him step for step in a constant cat-and-mouse game? Look, it's a cliché for a reason. I'm not going to say Lupin breaks the mold, but it certainly is a well-crafted entry into the mold.

If there is anything innovative, it's how Lupin particularly leverages stereotypes about race and class to maneuver more freely in certain spaces (e.g., he can smuggle himself into prison because the guards can't tell him apart from another inmate -- sad commentary, but useful for Lupin!).

It did do something I hate, which is release "half a season" and just leave the audience hanging at the end. Maybe it was the pandemic's fault, but one could really feel its incompleteness.

Kim's Convenience

Of the Canadian shows I've been watching, I'd say Working Moms (not in this post because it is pre-pandemic) is the stronger of the two. But this is fun as well.

It just got cancelled, unfortunately depriving it of the chance to wrap up its single greatest storyline (that's been ongoing since season one). That's a real, real shame.

Simu Liu as Jung is the latest iteration of the Jason Mendoza trend of "dumb male Asian hottie leads". I guess it's a blow against stereotypes?

Pastor Nina also could be an AOC lookalike. I think the show struggled a bit to draw a bead on her character.

Legomasters

I actually mentioned this show in my post about Jelle's Marble Runs, but it is such a joy to watch. I can't wait for season two, which is dropping very soon. For pure, simple, uncomplicated happiness, Legomasters beats out everything on this list.

via The Debate Link https://ift.tt/3yamzYb

#reviews #television

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chainofclovers · 3 years

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This Way Up season 2 thoughts and feelings

We finished watching the second season of This Way Up last night (watched it in two sittings over Friday and Saturday) and I liked it a lot more than I thought I would though the season did feel uneven at times. The story also made me feel incredibly, incredibly sad, and my brain is so cluttered with thoughts that I'm not sure I'll be able to actually make sense of the show if I don't just go on and share my impressions, as scattered, self-indulgent, and based on the limited memory of a single viewing as they are.

Where was I when I was watching this season of television?

Physically, I was on the couch with my wife, repeatedly remembering and forgetting that the Olympics were happening. And so, interspersed with this deep dive into the mental health and personal and professional challenges of London-based Irish sisters Áine and Shona, I experienced some archery, skateboarding (those bros honestly seem tooooo cool to even want to come to something as embarrassingly earnest as the Olympics, but good for them!), and men's gymnastics.

Mentally, I was contemplating some significant professional (and, yes, personal in their way) life events that are neither here nor there for tumblr dot com. I was also considering the season two premiere of Ted Lasso and my fannish relationship to that show. For it is true--the person I was while watching season 1 of This Way Up is not the same person who watched season 2 this weekend, because in the meantime a 45-year old white man from Kansas (and every person he knows) managed to become my primary media preoccupation, and I am surprisingly chill about how not chill I am about this anxiety-ridden ray of sunshine/football coach (both footballs). But as we all know, being chill does not mean feeling chill. That make sense?

Anyway. This Way Up. It's about to become a mess of spoilers and feelings in here, so venture behind the cut if you dare!

For Obvious Queer Reasons I was extremely curious to find out what happens between Shona and Charlotte and Shona and Vish. As such, while it was uncomfortable to watch, I think my favorite scene in the whole season is when Shona and Vish have video chat sex and Shona has this intrusive memory of sleeping with Charlotte that feels like the ONLY moment in the entire season that she isn't performing or editing herself in some way.

My other favorite moment is when Charlotte talks about how upsetting it is to feel like a "lesson learned" chapter in Shona's autobiography.

I cannot believe I'm about to type these words, but I think the writing on this show might actually put too much trust in viewers to pick up on things. I know, this never happens! This is my dream! Why am I typing this? But hear me out. I think there are a lot of interesting parallels in terms of whether Shona and Vish (established, engaged, committed) and Áine and Richard (new, taboo [but is it really that crazy that she ends up dating the dad of someone she tutors?], exploratory) are truly able to listen to each other and accept each other's needs. It's about honesty or lack thereof, and it's also about what's really happening inside someone's mind. It's such an incredible moment when Richard tells Áine he likes that she's always so "up" and she has this private moment where you can see this heartbreak in her eyes because of course we know that she really struggles with her mental health and with depression. And I like that the show has both Bradley and Charlotte in the position of being on the overlapping outside of those relationships, offering their own wisdom from a place of really, really caring about Áine and Shona. But I just wanted MORE of that. This episodes are so short, and I needed there to be more of a tight story about those parallels, more of a sense that we'd hurtle towards some kind of revelation by episode 6.

I realize this is a thing about UK shows, but these seasons are just too short. The episodes are like 24 minutes long and there are only six of them and I felt that while you could create an effective season of TV with those constraints, this season jumped between scenes too frequently. I wanted to live in the scenes for longer. I didn't want to feel like I was watching the editing and decisions about what to show happen before my eyes.

If season 3 happens, my second biggest dream is that Bradley and Áine can have a conversation following up from the observation that it would be nice to be with someone they're just comfortable with (spoken while they're slumped on the couch together having one of the warmest conversations two characters share all season). My biggest dream is that Shona and Charlotte can have a respectful conversation about how Shona defines her sexuality. I want Shona to be safe explaining if she'd want to use the term bisexual or queer or pan or even lesbian or some combination of those terms. Not because the labels are the most useful thing, but because in this case it would be incredibly useful for her to force herself to choose some words, not in the context of feeling Vish-related pressure. To be brave enough to describe herself, and to be safe enough to know that Charlotte isn't going to make some snide comment about men. It's totally fair that Charlotte is so hurt, but she needs to be able to listen, too.

I do think this season does an incredible job capturing Shona's intense ambivalence about herself, and how she is SCRAMBLING to deflect from that by focusing on her sister, work, family, wedding-planning, the hen do, basically anything but dealing with her own little brain and heart. I mean, when COVID starts to arrive in their lives, it feels like she really wants Vish's asthmatic uncle to be the golden ticket they need to call off the wedding.

I have mixed feelings about how frequently Áine references the feeling of being an actor or the feeling of experiencing things as someone might in a movie or show or the feeling that someone else is treating her as an actor or character rather than as a real person. I think it's an interesting thing to write about, but upon first watch I struggled to figure out if it was a commentary on the other parts of the story or an additional thread Aisling Bea wanted to weave into an already incredibly short season of TV.

It was very jarring to have a COVID plot. The only mainstream media I've seen so far with a COVID plot is--LOL (to quote Áine, who says LOL so many times this season)--the final scene of the Saved By the Bell remake. Again I say LOL!!! I didn't hate it or love it, necessarily, I just thought it felt strange because we're still in the pandemic and everything is strange.

Everything with Tom was so, so, so painful. I don't know if I can even get into it. I just felt visceral devastation and was hurtled into strong memories about people in my own life who died prematurely. (Suicide but not only suicide.) The way the last scene ended felt like--immediate tears just pulled from my eyes without me even realizing what was happening. And God, the way Tom-in-the-flashback calls her a "soppy cunt" (I think?) and we realize Áine used those exact words to jokingly refer to Richard's previous girlfriend who was a human rights lawyer? GOD.

While Áine and Shona don't really engage with each other in the same way my sister and I do, my sister and I are also really, really close and I'm the older sister and watching this show always gives me a lot of emotions about siblings. This is actually part of why the rapid scene cuts and feeling that they both were leaving so much unarticulated stressed me out. Áine nails it at the end when Shona has finally told her about Charlotte and she says Shona needs to tell her more, but I wanted to SEE that conversation happen. I wanted to FEEL Áine's reaction, because Áine's reaction matters more than Vish's or their mother's or anyone else's. It was frustrating!

I dunno, y'all. I really love this show. I think it is exactly what it wants to be. I could not tell you today if I will ever rewatch it even though I (think I) still consider it a favorite. I honor and respect the fundamental messiness and pain and hilarity of this show. What a wild experience.

#this way up #this way up spoilers #meta by me #cw suicide #about me #this is all over the place but then again I am all over the place

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