The big question, however: What should they do next? Sam wants to go public. But, as the episode opens, they seem to have settled into a nice coupledom, the kind in which contrasting personalities complement rather than clash with one another. Sam has long been defined by his youth and earnestness, qualities that don’t necessarily seem likely to make him a good match for Rebecca. Both Ted and Rebecca have been heading toward personal crises of one kind or another all season, Ted with his crippling anxiety - an unpredictable and paralyzing condition that can arrive seemingly out of nowhere, even when jamming out to Phil Collins and Philip Bailey’s “Easy Lover” - and Rebecca with continuing struggle to figure out who she is on the other side of her divorce.Īs the episode opens, it looks like she’s started to figure that out. If this season has been light on conflict between characters, it hasn’t wanted for other sorts of conflict, mostly of the internal kind.
DREAMS OF DESIRE EPISODE 10 HOW TO
But it’s also a show that understands how to use that premise to talk about depression, disappointment, and unresolved parental issues. Ted Lasso is an often silly show about an occasionally ridiculously upbeat man who has no business coaching a Premier League team in the U.K. By the end of the day, the song has receded again, becoming a kitschy time capsule she can enjoy with Deborah while delighting in her mother’s surprise that Astley looks like that. At the funeral itself, she turns fluff into an elegy for her family’s loss, one that somehow captures all the mixed feelings she still has about her father his betrayals of her mother, Deborah and the burden that’s placed on both of them over the years. Rebecca hears it when she wakes up in her childhood bedroom on the day of her father’s funeral, and its lyrics stick with her.
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Astley’s weightless song takes on new gravity by association. “No Weddings and a Funeral,” the tenth episode of Ted Lasso’s second season, gets a lot right about loss, including the way seemingly frivolous bits of the past take on new meaning with the passing of time.
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And things that stick around have a way of getting tangled up in our memories and the people with which we share them.
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But disposable products tend not to endure as long as SAW’s hits, including Astley’s 1987 chart-topper “Never Gonna Give You Up.” Though its visibility has been extended, to the annoyance of many and the delight of others, by a decade-plus of rickrolling, “Never Gonna Give You Up” never really went away even before it became a meme. Sometimes likened to an assembly line, SAW scored their greatest successes with acts like Kylie Minogue, Bananarama, and Rick Astley, turning out bouncy, synth-driven songs performed by video-friendly singers that many dismissed as disposable at the time. Between 19, the British songwriting/producing team of Mike Stock, Matt Aitken, and Peter Waterman - collectively known as SAW - turned out a steady stream of inescapable worldwide hits.