“But the writers’ room is universally filled with staunch male feminists, and that comes from the top. “ is such a male-centric show that it could easily be, if not hostile, a bit overwhelming for the few women who are on-screen,” she acknowledges.
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“I’ve never done a show with so many men on it,” says Waddingham - which is saying something, considering that her biggest breakout TV role prior to “Ted Lasso” was a sadistic nun on “Game of Thrones.”
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“We were the two main women cast members walking into a room of a lot of very handsome, very talented gentlemen,” as Temple puts it. Temple and Waddingham did in fact find themselves in that Hollywood scenario. So you find the only other one and say, ‘Well, we have to be friends!’ and you can get close pretty quickly, actually.” “Especially working in Hollywood, there aren’t a lot of other women around. That’s just not my experience in the workplace!” Black laughs.
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“A lot of times TV starts women off in a competitive place, and then they figure out how to be friends. “They had lives of their own.”įor Ashley Nicole Black, the “Black Lady Sketch Show” star who joined the “Ted Lasso” writers’ room for the second season, Keeley and Rebecca’s arc felt refreshingly familiar. “The women weren’t played as ‘the good woman’ versus ‘the bad woman,’” O’Brien says. When journalist Soledad O’Brien watched the show with her teenage son, she was struck by its insistence on “choosing optimism” and refusal to caricature its female characters. Utah Jazz coach Quin Snyder recently quoted one of Ted’s favorite sayings when encouraging his players to shake off a disappointing first playoff game (“be a goldfish”).
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Charlie Baker (“positive, charming, heartfelt”). It earned praise from everyone including Kerry Washington (“a balm for the soul in these times”) to Massachusetts Gov. The show had been in development for years, but its arrival during a particularly fraught time only lent extra potency to its message of kindness above all. “Ted Lasso” premiered during the summer of 2020 with the world in various stages of lockdown. Throughout the filming of Season 1, the passionate response from an instantly devoted fan base, and the pandemic-era production of Season 2, Waddingham and Temple have trusted each other implicitly as they’ve navigated a singular experience in both their careers.
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The same holds true for the actors, who are now so close that Waddingham considers Temple to be a “fairy godmother unicorn” to her young daughter. Finding the groove of their friendship, which even blossoms into a mentorship when Rebecca offers Keeley a job (fittingly, while they’re both taking a break in a ladies’ loo) was a game changer.
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“It would’ve been very easy for the women to be ciphers, to exist as the villain or the ingénue, or to only be there to see how they reflect on the men around them,” Lawrence says. “I think the show showing that is one of the things I’m proudest of being a part of, actually.”Īs the writers were developing the series, about a British soccer team, they actively worked to not only “poke fun at toxic masculinity and relationships,” as co-creator Bill Lawrence recalls, but to make Rebecca and Keeley more three-dimensional than they might’ve been in the sports-movie equivalent of the show. “Women are such extraordinary creatures, and we don’t have to be competitive,” she says. For Temple, playing Keeley, who resists any hint of clichéd catfights with Rebecca, is a career highlight.