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gottagobackintime · 1 year

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Music (and movies) and queerness in Ted Lasso. Particularly in relation to Ted (and Trent)

I want to start with a line from the show that contains the word music.

“If music be the food of love, play on. Give me excess of it.” Said by Mae to Ted in a scene where a few moments later Trent walks up to him after leaving his date to go talk to him. It’s a quote from the VERY queer Shakespeare play “Twelfth Night”. The line implies that the speaker wants to be fed more, to the point of it making them sick so that they won’t desire, love in this case, anymore. Because he’s unhappily in love with someone who he can’t have (Michelle?). BUT he falls in love with someone else later. And in the context of Ted Lasso, this line just so happens to be said right before they show us that Trent is there. Ted also answers Mae, not by asking if she’s asking him if he wants more but “If that’s your fancy way of asking if I want another one, you guessed right”.Another love?And according to James Lance, it was when he was on his way to film this scene that he found out that Trent is gay and that he is “with that guy” as he himself puts it. A man who has a moustache very similar to Ted’s and wears similar clothes.

(Also, this happens in season 2 episode 7. In season 3, episode 7 Ted talks about the red string/thread of fate myth while Trent wears a red bracelet and they are connected by red several times and season 3, episodes 7 and 11 are connected via “You’ve got Mail”, the opening scene in episode 7 being a “tribute” to the movie, and there are other smaller references. And the team, and Trent, watching the movie in episode 11. AndTrent also wears the bracelet in episode 11, an episode I’ll bring up later in this post).

Now, let us get to the music.

Bruce Springsteen If you google “Bruce Springsteen queer” you get a lot of results discussing queerness in his songs and so on, so to put him in this post is a must.

Bruce Springsteen is brought up by Dottie in season 3 episode 11. She tells Trent about the time Ted got onstage and danced with Bruce Springsteen (which turns out to be a lie) but the connection to Springsteen is still there, because Ted did get onstage with a Bruce Springsteen cover band and sang with them. So, we’ve established a connection between Ted (and Trent) and Bruce Springsteen.

Let’s connect it to something else that happened in the episode. They watch “You’ve Got Mail” starring Tom Hanks and Meg Ryan (I’ll come back to “You’ve Got Mail” later, the important part here is Tom Hanks). Ted states that the superior Nora Ephron/Tom Hanks and Meg Ryan movie is “Sleepless in Seattle”,a movie about a reporter falling for a single dad simply because of the way he talks about things and what he talks about. He brings the movie up twice, once to say that it’s superior and once telling someone to watch it. Now what does “Sleepless in Seattle” have to do with Bruce Springsteen? “Sleepless in Seattle” came out in 1993, as did “Philadelphia” a movie about a gay man played by Tom Hanks. Springsteen made a song called “Streets of Philadelphia”, specifically for this movie. A bit farfetched? Eh, perhaps, but I’m including it anyway.

So, in this episode Trent, a gay man, is told by Ted’s mum that Ted once went onstage with Bruce Springsteen and that’s the story he needs to confirm straight away. He practically skips towards Ted’s office to ask about it. Why that story? Surely she told him about other things too. And he heard the stories she told the team. But this was the story he was excited to get confirmed. A story about Ted’s connection to an artist that has several queer connections and who can also be connected to something else that is brought up in the episode.

Queen Let’s get the obvious out of the way. Their lead singer was queer.

And I talked about Fat Bottomed Girls and Queen/Freddie/Brian in THIS post. And I talk a little bit about the connection between Ted and Freddie Mercury in THIS post.

Queen has been used a lot throughout “Ted Lasso”, a lot more than I remembered. When I went back to look at the soundtrack for season 1 and 2, I found quite a few Queen songs. I also discovered that two of the trailers for season 2 had Queen songs in the background. “Under Pressure” (which also features David Bowie, another queer artist) and “We Will Rock You”.

Ted talks about having watched Queen at Live Aid on TV when he was younger, in season 2, episode 8 (that episode is called “Man City”, Ted mentions both Queen and Freddie Mercury. Season 3 episode 11 is called “Mom City” and Freddie Mercury is brought up again and a Queen song plays.) “Tear It Up” plays in season 2, episode 2 “We Are the Champions” plays in season 2, episode 9 “Fat Bottomed Girls” are both mentioned and played in season 3, episode 11 And, while not a Queen song, “Fought & Lost” by Sam Ryder featuring Brian May is also played in season 3, episode 11.

But let’s focus on “Fat Bottomed Girls”. Now, I’ve already talked about it in THIS post, that I also linked above. So, I won’t go over all that again. But a little recap, “Fat Bottomed Girls” is linked to “Bicycle Race” which is sometimes seen as a metaphor for being bi. They were both on the same single and they reference each other. The song is brought up by Higgins when he tells Keeley and Rebecca that Freddie, when he briefly owned Richmond in 1980, tried to make that song Richmond’s song but that it didn’t work. Rebecca then brings up that her dad went to art school with Freddie and that according to him if you would have asked Freddie what his greatest talent was, he would have said “flipping straights”.

We’ve already established Ted’s connection to Queen. And we’ve heard Ted refer to himself as straight just a few episodes ago (episode 7, and I’ve already pointed out the connection between episodes 7 and 11, this is another connection) now we get to hear Rebecca say that Freddie Mercury’s biggest talent was “flipping straights”. Ted is, as far as I know, and I’ve checked, the only person who refers to himself as straight, in the whole show. Not a single other character does that. Once in the Christmas special, once in season 3, episode 7, that’s two times. Will the rule of three apply here? Will he say that he’s straight a third time or will he subvert expectations or if you will, flip the script and say that he’s something else?

Dolly Parton Trent has worn a Dolly Parton shirt twice. Dolly Parton is a queer icon. In season 3, episode 11 Beard feels the need to call dibs on Dolly’s part in “Islands in the Stream” at karaoke. Implying that Ted perhaps snags that part for himself a lot of the time. Ted then walks away singing “Islands in the Stream”. Yet another queer connection between Trent and Ted via music.

Harry Nilsson/ (Judy Garland) Back to “You’ve got Mail”. The last scene of “You’ve got mail” ends with Tom Hanks and Meg Ryan meeting up and they kiss while Harry Nilsson’s cover of “Somewhere over the Rainbow” plays in the background. We’re shown that scene, not just by witnessing the characters watching it, but by it filling our own screen for a while. “Somewhere over the Rainbow” is of course from “The Wizard of Oz” originally, sung by Judy Garland. A queer icon. The connection to “The Wizard of Oz” and Ted Lasso has been brought up before. But in this episode, it’s very front and centre. Ted is standing at “The Wizard of Oz” pinball machine, staring at the spinning house. And of course, Ted’s connection to Kansas is always there. And it’s brought up in a very important way this episode, with his mother more or less telling him he should go home to Kansas.

So, we have a well-established connection between Ted and Kansas and “The Wizard of Oz”. Let’s talk more about Judy Garland, Dorothy, the original singer of “Somewhere over the Rainbow”. As I mentioned above, Judy Garland was and is a queer icon. And “The Wizard of Oz” was and is a big part of the queer community. Then we have the “Friend of Dorothy” euphemism, a way to recognise other queer people, and it’s strongly associated with Judy Garland’s Dorothy. In episode 11 we are introduced to Ted’s mother, Dottie, which is a nickname/shortening of Dorothy. Another very clear queer connection to Ted.

And let us also look at James Lance who has said that there is a story arc for Trent’s shirts. And he wore a t-shirt with Dorothy’s ruby slippers to an event that is connected to Ted Lasso. And when asked why he was wearing that shirt, why he chose to honour Dorothy. It feels like he’s deflecting when he says “Well, every good character’s got to have a good pair of shoes, right. And these are surely, surely,the best pair of shoes in showbiz. So, you know, they get their own t-shirt. There aren’t many shoes to do that.” That’s suspicious. And we now know that James has had a lot of input into Trent’s costume, with him suggesting things and getting a thumbs up a lot of the time. He clearly thinks that clothes are important and can send a message. And he chose to wear a Dorothy shirt to a red carpet. When we now know that the eleventh episode of season three had several heavy references to “The Wizard of Oz”.

And to go back to Harry Nilsson. A song sung by him was on the soundtrack for Midnight Cowboy, starring Dustin Hoffman and Jon Voight, a queer movie. (And let’s remember that Trent himself said that Dustin Hoffman would probably play him in a movie).

Honourable mention

Mumford & Sons/Marcus Mumford

Why would I add Mumford & Sons and Marcus Mumford? Because Marcus Mumford made the theme song to Ted Lasso and the instrumental songs for the soundtrack, they’ve also used both Mumford & Sons and Marcus Mumford songs in the show. And the band have a connection to Jason Sudeikis. He was in the official music video for Mumford & Sons’ song “Hopeless Wanderer”, inthat video he clearly plays a version of Marcus, and he kisses another man in it. I think that deserves an honourable mention.

So, to sum it all up, there is queer subtext in the music and the artists that they mention and play in Ted Lasso, and these are just the ones that I personally can connect to Ted (and Ted/Trent). I don’t know if it is a coincidence, but I feel like there is way too much to just be a coincidence. To borrow part of Trent’s line “Through thousands of imperceptible moments, all leading to their inevitable conclusion.” Number four, that doesn’t even matter (but it actually does), LOVE. Queer love.

#ted lasso #ted lasso spoilers #tedependent #trent crimm #ted/trent #ted x trent #nicole watches stuff #I really hope this post makes sense #this post can be summed up with the words:#started making it had a breakdown... bon appétit #I'm sorry to say that I've literally gone insane #just look at this post #I didn't even mean to make this post #I was just going to make a little gifset about the times they've had Queen in the episodes #because I'm a fan of Queen #and then I fell down the rabbit hole #and I ended up with this #and then I thought hey let's go out with a bang you know #if it truly is the last ever episode of ted lasso next week then let's have some fun #the more I looked the more everything connected #like the things that happen in season 2 and 3 episode 7 #also discovered that in one of the trailers for season 2 they have a shot of trent smiling at ted in the press room #a shot that isn't in the episode #so yeah... um...#I went deep #I really hope you all get some enjoyment out of this post #I put more effort into this post than I did when I tried (and failed) to write a researched paper at uni (that paper made me drop out again

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transgenderboobs · 2 years

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may i have some jonmartin w/ 14. ( Singing and dancing to their favorite song ) in these trying times,,,

14. Singing and dancing to their favorite song.

oaugh my uwus.....

- - -

The first 24 hours are clumsy and awkward.

Fleeing the country is definitely not as cool as it looks in the movies, Jon thinks. Mostly it involves a lot of stumbling and fear and confusion and buying train tickets in cash, at full price, because even though Martin has a railcard, using it would be too close to leaving a paper trail.

The keys stick in the front door, and the hinges squeak from disuse, but finally, after a day of nonstop travel, they’re standing on the threshold of Daisy’s safehouse an hour outside of Inverness.

At his side, Martin sneezes.

Jon looks up at him, raises his eyebrows.

Martin smiles sheepishly, twists his hands around the strap of his duffel bag. “Dusty.”

Jon hums, trails a hand over the wall as they go, trying not to marvel too obviously at every word Martin says to him. “It does smell a bit like the Archives my first day on the job.”

Martin huffs, dry and quiet, but still the closest thing Jon's heard to an actual laugh from him in so long. "You mean the day I let that dog in?"

Jon's heart does something complicated. He remembers feeling so nervous that day he thought he might throw up, but now looking back on it he feels a pang of something almost like nostalgia. Things were easier, back then, when the worst thing he had to worry about was a dog making a mess on the carpet, even if the memory is marred by how abhorrently he'd treated Martin.

"Yes." He nods fondly. "The day you let the dog in."

Martin does another of those little huffs, this one with a bit more life in it. He shrugs his duffel off his shoulder, lets it fall to the hall floor at his feet. "Well. Better than... blood and rotting meat, or something, so. I'll take it."

"Fair point," Jon gives him. He slips his own bag off his back, clutches it momentarily in front of his chest, before setting it cautiously on the floor beside Martin's. "I suppose we should... take inventory?" He suggests. "Give it a, a look-over?"

Martin hums, nodding. "Yeah, we could do that."

"Right. Yes. Um..." Jon scuffs his toe on the floor, eyes flitting away from Martin before invariably being drawn right back to him. "Where would you like to start?"

"Uh, I-I can take the back half? You check out the front?"

"Ah." Jon bites his bottom lip, tells himself there's no reason for his heart to skip uncomfortably. "S-should we split up?"

"We're hardly splitting up." Martin shrugs. "I think this place might be smaller than my flat back in London."

Jon swallows. He taps his fingers against his thigh. "Still..."

Martin peers curiously at him over the rims of his glasses. "Would you rather we stick together?"

"W-well, I— I, i-it just seems like t-the best, er, that is—" Jon stops himself, purses his lips, sighs. "Yes. I would rather not be apart from you yet."

"Oh," Martin breathes out softly. His cheeks go pink, a barely-there dusting of blush that still manages to knock Jon sideways. "Okay. Sure. Let's, er, have a look at the kitchen then?"

Jon exhales in relief. "Yes. Let's. That sounds good."

They start with the kitchen, Jon leading Martin in with a hand on his wrist, because— well. Because he likes being able to touch Martin, now. Will find any excuse for it.

Martin finds a meager supply of canned goods and nonperishables in the cabinets (no peaches, he's pleased to announce), and Jon finds cookware in the drawers by the oven. It's not an impressive collection, but it'll do. Maybe he'll even get to cook something nice for the two of them. To do something nice for Martin.

Kneeling down, Jon opens the cupboard under the sink. He finds a handful of cleaning products, an old hatchet, a rusty-looking toolbox, and—

"Hm." Pushing a bottle of window cleaner aside, Jon grabs the dusty gray box in the back, turning it over in his hands. He's a little wary of old-timey audio equipment these days, but they're going to have limited entertainment up here on the lam, so anything that's not a tape recorder can stay, he supposes.

He feels more than hears Martin coming up beside him on almost eerily silent footsteps. "What've you got there?"

Jon stands with the ancient bit of tech, setting it on the counter. He pulls his sleeve (Martin's sleeve; it's Martin's cardigan he's got on, after all) over his hands and makes a clumsy swipe to clear away the dust. "Old radio."

Jon sees the way Martin perks up. He sidles cautiously closer, hands stuffed in his pockets. So this he's afraid to touch, but boxes of C4 are fair game. Jon is hopelessly endeared. "Does it work?"

Jon gives him a look, raising his eyebrow, trying to hold back the rush of fondness threatening to make itself known as a dopey grin. "Only one way to find out."

He finds an outlet by the sink to plug the thing in, pulls out the creaky antenna, and fiddles with the buttons until static crackles to life, making them both jump. Twitchy, the both of them, but fleeing the country does tend to set a man's nerves on edge.

Jon twists at the dials, crawling through different tones of static one after the other, until, finally, crackly notes of actual music break through.

"Oh!" Martin's hand lands on Jon's arm, stilling his hand before he can switch to the next station. "Stop, stop there!"

Jon is helpless to do anything but oblige, fingers falling away, head tilting so he can watch Martin, sidelong, as his eyes go wide and his face lights up. Jon wants to frame that expression and hang it on the wall; would do anything to be able to make Martin look that delighted any time he wants.

Jon's a little proud that his voice only wavers a little when he finds it again. "Like this song?"

The corners of Martin's lips tick hesitantly upward, the beginnings of a smile that catches Jon's breath in his throat. "I do, actually."

"I suppose that makes sense. Suits your... retro sensibilities."

Martin snorts. "Okay, it's not that old."

Jon can't fight his grin any longer. He's sure Martin can hear all the syrupy-happiness of it dripping into his voice. "It came out in nineteen-seventy-six, Martin."

Martin politely ignores that Jon Knew that particular bit of trivia about a song he's heard maybe once or twice in his life, crosses his arms over his chest. "That's— Okay, well, it was on when I was a kid!"

"Whatever you say, old man."

Martin stabs a finger at him. "Oh, shut it. You are six months younger than me, grandpa."

Jon loves the splotchy indignation, the put-out blush, the stubborn set to his brows, because this is so much more than he ever thought he'd get again. After months of avoidance and vague disdain, after how painfully empty Martin had looked in the Lonely, Jon feels like he's finally come up for air after a long time spent underwater.

He feels, if he's honest, a little bit giddy.

Chasing that feeling, he carefully holds his hand out. "Alright. Come on, then."

Martin looks down at his proffered hand, head tilting. "Are you... Jon, are you asking me to dance?"

"I'm trying to, but there's only a minute-and-forty-eight seconds left of this song, so we'll need to hurry."

Martin raises his eyebrows. Jon frowns, but wiggles his fingers. Martin's face softens, and he slowly slips his hands into Jon's. "I don't know how to dance."

"That's fine," Jon tells him, smiling. "Neither do I."

And then Martin laughs for real, a small, soft thing that still sends every cell in Jon's body chiming like a bell as he pulls Martin into motion.

They really are horribly awkward: the song doesn't allow for slow dancing, too fast, too energetic, but it's still delightful to hold onto Martin's hands and move together.

"I warned you," Martin huffs immediately after he narrowly avoids stepping on Jon's toes.

"You're doing fine," Jon tells him, knocking his bony knee into Martin's thigh for good measure.

Martin giggles (actually giggles!), a flush rising high on his lovely cheeks. Shedding his self-consciousness as the seconds tick by, Jon watches his movements become freer and more confident as they unfreeze from fog-chilled shores and hours of travel.

He even, delightfully, picks up the song and quietly starts humming along. After a few seconds of holding his breath to be sure he heard right, Jon even picks up the odd word or two here and there.

Then, he starts hearing entire lyrics, soft and shaky and a little awkward in a voice that's unused to having presence enough to speak, let alone sing along to seventies rock songs.

Jon doesn't realize he's gone reverently motionless until Martin stops moving, too, looks at him with something that borders too close to nerves. "What?"

Jon wants to say something to preserve the mood, get Martin back out of his head. Maybe quip out decided to serenade me now, have you? or something.

Instead, he says, "You're lovely," in that awed, earnest voice Martin always seems to drag out of him.

Martin goes completely still, now, sucking in a sharp breath, eyes round and mouth half-open. "Oh."

"Er." Jon swallows. "What I mean, is, um." What he means is Martin is absolutely fucking lovely, all of the time, but seeing him like this is a revelation, should be categorized as the eighth world wonder, probably. But he hadn't meant to say it yet; had meant to give Martin more time to feel like a person again. He can't take it back now, though. "Well, actually, no. T-that's what I meant."

"Oh," Martin says again, small and soft and a little dazed.

Jon looks down. Martin is still holding his hand, even though the dancing's stopped and the last notes of music are fading out to make way for the next song, faint pinpricks of static filtering through the airwaves in the growing quiet. "Th-that okay?"

"Yeah, Jon. That..." Martin smiles, small but bright as dawn light, his fingers squeezing where they're still wrapped in Jon's. "That's definitely okay."

Jon's heart, fragile as it feels, bursts with a sun-hot affection. "Good. Because you are."

Martin looks about as fragile as Jon feels, and just as lovestruck. It's good, Jon thinks, that he's able to hear things like this and not shrink away.

"Okay." Martin gives Jon's hand another squeeze before he slides it free. He turns the volume down on the radio, but not all the way off, so the next song filters quietly into the room. "We should, um. G-get back to it, right?"

"Probably," Jon agrees regretfully. He already misses Martin's hand in his.

And together, they set to it, the hopeful start to a long undertaking.

#tma #the magnus archives #tma fanfic #tma fic #magpod #magnuspod #jonmartin #jmart #otp: i need him to be okay #loverboy writings #hiiiii #yes i'm still out here finishing prompts i got in early 2021. what of it #if anyone is curious.#i'm imagining the song to be good old fashioned loverboy by queen #because i am first and foremost a self-indulgent man #so if i wanna make martin a queen fan in my fics i will

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