[rovermcfly]

I'm still thinking about how Ted Lasso spoiled the S2 twist(s) in 2x02 by having Ted say his favourite book is The Fountainhead but bc noone can stand Ayn Rand it went over everyone's heads

Trent publishes article about Ted's panic attack, realises this betrays his values and he cares more about Ted than his job after all, gives up his journalistic career. They laid it all out on a silver platter right there.

[rovermcfly]

When Nate approached Trent to tell him about Ted's panic attack in the hopes that Trent will write about it in a way that will ruin Ted's life, Trent probably thought "Is that all that people see in me?"

He's been dissatisfied with his job for a while now, like he said he's now looking for something "deeper". And yet, he didn't leave his job until this article and you have to wonder why.

The reason is that Trent Crimm, The Independent is a bully and an asshole, a cutthroat journalist. He's the person that you approach if you wanna ruin a man's life. Rebecca approached him hoping he'd write something to ruin Ted's life and so did Nate. Except when Nate approached him, he realised that this is all that he is to people. He is Trent Crimm, The Independent, the man you go to to ruin someone's life.

But we know Trent changed. And Trent knows he changed too. But Trent Crimm, The Independent cannot change, he stands for all these things, for "bringing the heat", for being "a tough cookie"- an asshole. So if he really wants to change, he has to leave that person behind entirely.

"Trent Crimm, independent" is more than just a joke. It's Trent leaving the person he used to be behind for good. It's, dare I say, Trent Crimm 2.0. He's finally the man he never thought he really could be, but he had to leave Trent Crimm, The Independent behind to become that man.

[kenteffect]

toheeb jimoh might be the funniest person on earth?

[lilacmermaid25]

Ted Lasso Prompt:  Trent is brought in to write Ted’s story, and Beard is jealous - it’s something he always thought he would do.

[melliedm]

HI. I just started following you and I'm a nerd who messages people when I follow them so they don't think I'm actually a bot. I'm looking for more Ted Lasso content and your username pops up a lot on good meta and ted trent posts, so, again, hi.

Hi!! Thank you for the lovely message! I'm not super active here but I do what I can. 😅 Glad to have you around!

[melliedm]

Hi hello here is the second Ted Lasso tarot card, thank you // Nate antis DNI

[loveexpelrevolt]

just trent being charmed by ted against his will 💕

[meduzan]

Ted Lasso and the obvious Wizard of Oz parallels, re: the start and end of season zooms.

Very loose thoughts as I get distracted from work...

All three of Dorothy's companions believe themselves to be in need of something, and all three together make up aspects of self worth and self confidence. The things that Ted both tries to impart on others AND what he needs to see in himself.

Season 1: Rebecca is The Tin-Man. She's reminded she has a heart, reconnects with her emotions in rejection of cold revenge.

Season 2: Nate is the Cowardly Lion, who found his courage—but at a cost.

Season 3: Which scarecrow needs a brain? In the book this is more about wisdom than straight up smarts, and the wizard leaves the Scarecrow in charge when he leaves.

So who will be the scarecrow? aka Season 3's zoom in/out?

Although I'm firmly hoping for Beard, this theory would go with a very popular choice in the Fandom: Roy Kent, who has been slowly developing as a wise leader of the Richmond team across three seasons with aid from Ted, Keeley, Jamie and (of course) Phoebe.

With Season 2's ending for Keeley and Roy, Jamie and Roy, and Nate's departure, Roy will be set up for an interesting arc that will challenge how we've come to know him. Perhaps this is exactly how he becomes the wise leader he needs to be, and takes on the mantle of Richmond when Ted returns to Kansas.

[devotioncrater]

yeah like maybe i am a clown but hear me out

trent working on a book about ted's coaching style. trent shadowing ted, interviewing the players, taking note of how various problems are handled. it's purely professional. ted and him have a friendly professional relationship.

and then maybe one day he has to bring his daughter in to work with him because she's four and had a terrible tantrum about going to kindergarten. the team likes her well enough, try to teach her how to pass the football. ted's a natural with her, maybe tells a story about when henry was her age. and he's got an air of sadness about him as he does, and trent recognizes the fact that ted's given up seeing key moments in his son's life in order to work here. and the two bond over fatherhood, what it means to them. the next day ted gives trent some biscuits for his daughter.

trent's still got a friendly professional relationship with ted, but now they text a bit more. talk a bit more on topics outside of football. ted's interested in what trent has to say. he asks trent questions deeper than surface level. they grow closer. more of friends now than professionals. ted invites trent out for drinks with beard, roy, higgins. it's conflicting to trent as he still has to write his book objectively, although even he knows deep down that objectivity's been thrown out the window ever since he leaked his source.

then there's amsterdam. colin comes out to trent outside of a gay club purely by accident. he hadn't meant to be seen, but, well, trent saw him, so. trent gives him advice and shares his own experiences. colin decides to come out on his own time to the team, who rally behind him in support.

while in amsterdam, ted says it's a real shame trent can't ride a bike. trent is perceptive enough to see where the comment heads, but he can only half-heartedly decline once before he lets ted talk him into being taught. if ted's hands linger on trent's back, arms, well that's just part of it, right? if when he falls (crashes, more like), and ted is checking him over with worried eyes to make sure he's alright, that's just part of it, right? there shouldn't be a reason his heart is pounding fast in his chest.

the vibe changes. trent writes as objective as possible. it grows harder by the week. richmond climbs up the ranks of the league.

there's a fundraiser event he has no intentions of going to. ted invites trent as his plus one. trent tries to justify attending as research for his book, but when he sees what ted's wearing he can't keep a coherent thought together.

halfway through the fundraiser, ted's gone. he finds him in a quiet space away from the event. concerned, trent asks what's the matter. ted opens up that he's been going to therapy for his panic attacks, his trauma and anxiety. he's been getting better, but today is his son's birthday, and he feels overwhelmed that he can't be there for him. a facetime call can only do so much. and trent listens. offers his shoulder for ted to lean on. when ted confides that this season may be his last, it doesn't come as a surprise.

they continue to grow closer, each of them opening up more to the other. trent learns about ted's childhood. ted learns about trent's shitty father and the bullying he went through in school. they stand closer in proximity; sometimes when trent hands ted a beer, their fingers brush; they lean towards one another when speaking. trent wants and wants and wants, yet he knows ted's leaving soon. he doesn't even think ted is interested like he's interested.

until richmond wins a critical game. and everyone's celebrating and cheering and chanting. trent leaves the locker room when he thinks he can slip out unnoticed, only for ted to catch up to him in the parking lot. trent congratulates the win; ted takes trent's hand. there's something in the air between them. something charged. it's something that can never be. ted is leaving, ted is the subject of his book. trent reminds himself of these facts. he squeezes ted's hand.

ted squeezes back. and that's enough, surely? that has to be enough. a quiet confirmation that the feeling is not one-sided. that if the circumstances were different, they could explore where this thing between them goes. it has to be enough

[all-chickens-are-trans]

An Archive of Our Own, a project of the Organization for Transformative Works

Chapters: 1/1 Fandom: Ted Lasso (TV) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Trent Crimm/Ted Lasso, Trent Crimm & Colin Hughes Characters: Trent Crimm, Ted Lasso, Colin Hughes Additional Tags: Romance, but also not?, Sexual Tension, Implied Sexual Content, Songfic, Season/Series 03 Spoilers, Gay Trent Crimm, Questioning Ted Lasso, Gay Colin Hughes, Gay Club, Sober Ted Lasso, Amsterdam Summary:

One night in Amsterdam, Trent ends up in a gay club. He didn’t plan it, he’s just there to support Colin, to be his gay mentor - “like a gaffer, but for this”, as Colin puts it. And who does he run into there against all odds? It’s Ted Lasso! As it turns out, Colin doesn’t really need Trent’s help, but Ted might have some questions…

[rovermcfly]

"The bit where I say 'I don't know how to ride a bike' and he's like 'Really? That surprises me' and I'm like 'Why? Because of the hair and the whole vibe?' and he's like 'Yeah.' And just that, for instance, that wasn't in the scene originally, before. It's just those funny little moments."

James Lance approaching any new info about Trent the same way all of us do, by immediately dissecting it and creating elaborate headcanons, is something that can be so personal

[sing-songy-tw1t]

another sketch <3

[ms-demeanor]

I am absolutely not joking at all when I say that The Sixth Sense should be required as teaching material when you’re trying to get kids to learn about why color matters.

No, the red DOESN’T mean love or violence or passion, however the creators set it up so that in this particular work red means OH NO A SCARY GHOST IS HERE.

When I was in college (as a lit major) I ended up sitting down and talking to a returning student who was having trouble in one of our classes. He liked books, and he had GI bill money so he decided to be a lit major.

He was VERY confused about the “The Curtains Are Blue And It Means Something” approach to symbolism and I remember that he very seriously got out a notebook and a pen, sat down, and asked me “Okay so what to stars mean as a symbol?” 

And I was at a loss because of course I was! Stars-as-a-symbol can mean a thousand things and are heavily dependent on context. Are you reading a book about sea travel? Stars mean a map. Are you reading Maus? Stars represent faith and community and the way that the Nazis dehumanized Jewish people. Are you reading something by a romantic author who has a thing for the classics? Stars probably have something to do with heroism and destiny. Are you reading science fiction? Stars are probably just stars but if you’re reading Whipping Star by Frank Herbert they are literally people and our entire conception of stars is reexamined.

So one one the things that I think a lot of people are missing in their high school English classes is that whether the curtains are blue matters or not depends on the work.

The fact that Hamlet is wearing black is an important part of the story and the antagonist commenting on it it is almost the first thing that happens in the play.

What color dress is Lizzy wearing at the first dance in Pride & Prejudice? It doesn’t matter, the curtains are just blue.

And that’s one of those things that it takes a lot of time and a lot of exposure to different kinds of stories to learn and when you’re in high school you just don’t have that experience and your teachers are just now telling you for the first time “sometimes it matters why the curtains are blue” and I know you’re going “okay, sounds fake” but the goal is to get you to look at blue curtains and ask if they do matter, which is why they hand you books with big obvious examples of the kind of shit they’re talking about. You read A Tale of Two Cities because it’s full of binaries and line motifs and it’s the perfect thing to teach a fifteen year old how to look for a motif because there are a shitload of them. You read  The Scarlet Letter to look for color symbolism and to ferret out biblical allusions.

“The curtains are just blue” is just “yet another day has gone by and I haven’t needed algebra.” Most people aren’t going to need algebra in their day-to-day lives but it’s handy to know how to do a bit when you need it and it’s good to learn that the concept exists.

If you’re reading books just because they’re fun and you like them then that is cool and I’m glad you’re having a good time and you absolutely do not have to give a fuck about symbolism.

But I am going to laugh my ass off at you if you’re one of those folks who is like “the curtains are just blue it doesn’t matter” and then whines about why scifi and comics and cartoons and video games are all political these days. They were always political, you just couldn’t tell because the curtains were red.

(also because you were socialized to see certain things as apolitical and value neutral but if you’re going “WHY DO THEY PUT SERIOUS MORALS AND SHIT IN A KID’S SHOW, STEPHEN UNIVERSE IS FOR TEN YEAR OLDS IT’S NOT THAT DEEP, LOONEY TUNES WASN’T LIKE THIS” I’m afraid I’m going to have to refer you to all the actual war propaganda made by Disney and Warner Brothers.)

[ms-demeanor]

I’m sorry there’s someone in the notes who’s onboard with this except for the political stuff because they claim that overtly political works are forgettable and didn’t stand the test of time because of their political bent.

And then they claim that the political SJW stuff in Dickens is subtle.

Which they differentiate from the penny dreadfuls and popular magazines of the time. Dickens was GOOD, not like that by-the-word popular crap.

Just for the record, if you’re not familiar with Dickens, here’s a little bit from his wikipedia bio:

His novels, most of them published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication.[4][5]Cliffhanger endings in his serial publications kept readers in suspense.[6] The instalment format allowed Dickens to evaluate his audience’s reaction, and he often modified his plot and character development based on such feedback.[5] For example, when his wife’s chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens improved the character with positive features.[7] His plots were carefully constructed and he often wove elements from topical events into his narratives.[8] Masses of the illiterate poor would individually pay a halfpenny to have each new monthly episode read to them, opening up and inspiring a new class of readers.

Yeah, Dickens is nothing at all like the MCU with its crowd-pleasing shot of SJW WOMEN SUPERS trying to cash in on a moment. THE ENTIRE PLOT OF A CHRISTMAS CAROL IS WORKER’S RIGHTS WHAT ARE YOU TALKING ABOUT???????????

Anyway.

Shakespeare is intensely political - what the fuck do you think the Richard plays are if not anti-Plantagenet propaganda?

Austen is WILDLY, VICIOUSLY political like seriously how many fucking times does Austen write about women who are getting absolutely fucked by the society that they’re living in and have to throw themselves on the mercy of kind relatives or hope that they can marry a kind husband spoilers it is all of the times, that is just a huge, ridiculous, outsized portion of what Austen wrote.

Mark Twain is mind-bogglingly political. You know what didn’t stand the test of time? Tom Sawyer, Detective. You know what did survive? The Adventures of Fuck Your Racist, White Supremacist System.

My university required that students take one of three Major Authors classes before they could graduate with a degree in English Literature. Our choices were Shakespeare (already discussed for his political commentary), Chaucer (whose negative characterization of the church was so overwhelming that it’s one of the jokes that actually made it in to A Knight’s Tale), and Milton, whose work you can only consider apolitical if you know absolutely nothing about Milton:

The reality is that if a work survives a hundred years most readers are not going to recognize the politics of the work. Shakespeare seems apolitical to an American audience only until we cast someone who looks like Donald Trump or Barack Obama to play Julius Caesar and THEN we get why there might have been something to do with politics in the original play.

This post initially got started because I’d been commenting on a post about Twin Peaks and its symbolism and there’s a joke in there about how the curtains are red, sure, but people got mad about the “political,” anti-nuclear messaging of the new series of Twin Peaks while totally overlooking the fact that the first two seasons are ENTIRELY AND ONE HUNDRED PERCENT ABOUT HOW A SOCIETY ALLOWED AN ABUSER TO FLOURISH UNCHECKED. That is not apolitical! This is a work that says “what if a society allowed a teenage girl to be sexually trafficked, to be forced into drug trade, to be physically and mentally abused, and still expected her to project normalcy? What happens to the girl and the society? What makes that possible?” and the answer is AN OLD EVIL IN THE WOODS THAT HAS ALWAYS EXISTED AND THAT EACH MAN HAS TO FACE IN HIMSELF OR BE LOST FOREVER TO DARKNESS . Twin Peaks is SO FUCKING POLITICAL.

And we’re still talking about it thirty years later because it was also good.

And this commenter is saying “we don’t remember shitty didactic novels because they were too political and were bad, if it was good and the politics didn’t clutter it up we remembered it” and no, bud, almost everything that DID survive is hardcore political in some way or another but you don’t have the historical context to feel it’s political in the same way that you feel including “gay people for the sake of gay people” is political.

OSCAR FUCKING WILDE DIDN’T GO TO PRISON FOR BEING AS QUEER AS A THREE DOLLAR BILL FOR YOU TO PRETEND THE IMPORTANCE OF BEING EARNEST IS APOLITICAL.

Is it a cute play about cute characters saying witty things? Yes. It’s also about being separated from yourself and not knowing the fundamentals of who and what you are because that was taken away from you by the institutions society sets up to raise you. It is about falling in love with a name and wanting to have that name because it is what is named that allows you to safely function in society and have a pretty wife and cucumber sandwiches instead of being confirmed bachelors with your dear friend Jack who comes into your home uninvited to lounge beautifully on your sofa.

So if you’re talking about survivorship bias, if you are looking at any work that we consider to be “Important” or part of the “Western Canon” that book is, without exception, deeply political - you just don’t see the politics because you’re reading it completely out of context.

[mobydyke]

people who use the queue function fill a necessary role in the tumblr ecosystem. they keep posts alive. if u miss a post bc ur entire mutualcule was reblogging it from each other in a 30min span and u were offline, the queue mutual provides u an opportunity to see that post again in 1-8 business days. they put posts in stasis in little cryogenic freezers for u to discover and enjoy later. everyone thank their queue mutuals right now

[melliedm]

Love our chats. ❤️ A lil something for @enumchase and their extended birthday weekend!!

[grahamkennedy-deactivated202411]

Fuck it. What about a Ted/Beard/Trent throuple.

[sing-songy-tw1t]

i feel like there’s a significance to ted and trent eating spicy food on their first date dinner together.

Like there’s probably a study out there about getting spicy food on a first date, similar to that one study about how doing adrenaline inducing activities on your first date can lead to the person falling in love with you.