How does Ted Lasso’s depiction of masculinity and sport (athletes, stars, coaches

etc.) challenge hegemonic masculinity as represented in western sports media?

Dear Divya,

In my own experience as a media and communication Major at Monash university,

my first introduction to theories of masculinity was briefly in my second year and
more concretely in my third. I can understand that the predominant reason that this
occurred is due the fact that other theoretical frameworks that we employ
academically in media studies, are also frequently used (or rather misused) in pop
culture discussion of media texts. Moreover that these discussions occur online, on
social networking platforms such as twitter, Tumblr, reddit and now TikTok, and
function as the first exposure to media analysis that young people have duo to
accessibility. For example, feminist film theory has become frequently discussed
online, concepts such as the “the male gaze” (Mulvey 1973), and the betchel test are
not only lenses but now also memes and colloquialisms. The accessibility of feminist
film theory, despite how accurate it may or may not be in pop culture, has not been
afforded to other kinds of frameworks and particularly in the case of masculinities
studies. Thus for this essay I wanted to focus on masculinity studies and especially
the notion of hegemonic or dominant masculinity in media. In researching this topic, I
came to understand that I wanted to analyse a media text that I believed counted, or
at least explored how dominant masculinity is reproduced. This led me to Ted Lasso.
After received feedback from both you and my peers on my presentation about
theory and frameworks I have tried to ground my essay in literature, beginning with a
discussion where I examine the definition of hegemonic masculinity and made the
choice to use this phrasing rather than ‘dominant’. Defining what exactly I would be
studying, in reference to hegemonic, dominant etc. has been my biggest challenge
as evidence that my original question used the word “typical”.
Masculinity studies as a field has seen major theoretical shifts and changes in just
the recent couple of years (Magrath, R., Cleland, J., Anderson, E. 2020), and
historically only gained serious academic attention in western academic spaces in
the latter half of the 20th century. Likewise, although an important part of gender
studies; in the context of media analysis at an undergraduate level, masculinity
studies is a relatively unknown concept to a majority of the cohort. Which led me to
striving to find a topic in which I could explore constructions of masculinity as
represented through the media. For this essay I have selected Ted Lasso, the 2020
apple TV, sports comedy series about an American NFL coach who is hired to coach
a British premier league soccer team, who, unbeknownst to him, is expected to fail in
a ploy from the new owner to spite he ex-husband. It is a wildly popular tv series,
with both critical and commercial acclaim, that has appealed to sport and non-sport’s
fan alike (McIntosh, S 2021). It has been praised for “offering the perfect counter to
the enduring prevalence of toxic masculinity, both on-screen and off” (Peabody
awards 2020). As a fan of show myself, I do not disagree with this sentiment,
however I want to integrate if this belief is true in how Ted Lasso represents and
reproduces gender and power. Especially in the context of buzzword/pop culture
notions gender equality that of toxic masculinity. Thus, the question I aim to answer
is How does Ted Lasso’s depiction of masculinity and sport challenge hegemonic
masculinity as represented in western sports media? Beginning with a discussion of
theories of hegemonic masculinity and sport, and the existing literature, this essay
will then move to examination of the case study drawing from the seasonal
narratives and specific moment from the two of the highest rated episodes, the
season 1 & 2 finale’s. Discussing first its lack of adherence to typical sports movie
troupes, of locker room talk and visual framing of male bodies, secondly to then the
diversity and range of masculine experiences including that of the female characters,
and lastly with an acknowledgment counter narrative of meterosexuality and the
softness of soccer in American media.
Men’s studies, that is concerned with the theory of hegemonic masculinity, has a
multitude of links to fields of education, sociology, anti-violence, health work etc.
grounded in researching power in relations to gender and race. Which is all to say
that this field of research has results, effects, and concerns foregrounded not in
media representations, even if they are closely related. Connell and Messerschmidt
make point of this in discussing the origins of Hegemonic masculinity in academia;
that what emerged from various discussions of social inequality, theories of gender
and ‘male sex role’ was that “Hegemonic masculinity was understood as the pattern
of practice (i.e., things done, not just a set of role expectations or an identity) that
allowed men’s dominance over women to continue” (2005 p4). Distinguishing that it
is not “assumed to be normal in the statistical sense … But it was certainly
normative” and requires “all other men to position themselves in relation to it” (p4). IN
the context of media studies “concept of hegemony helped to make sense of both
the diversity and the selectiveness of images in mass media” (Connell, &
Messerschmidt, 2005, p5). Hegemonic masculinity is reproduced in a variety of
forms, and one such area that has been given great attention in literature is sport.
“Sports, of course, provide a perfect venue for the establishment of this sort of
hierarchy” as they function as “an arena in which men can literally battle for
supremacy (Anderson, E 2005, p 23). Likewise, sports media, that encompasses
both the non-fictional broadcasting of sports, sports journalism as well as fictional
sports narratives, has typically been an institution which has “constantly reinforced
traditional male values” (Cleland 2014, p1270). Consequently, sport media resonates
these ideals of hierarchy and gender through framing and representation of
masculinities. In regard to ‘sports films’, Briley, Schoenecke, & Carmichael, highlight
that “one of the reasons for the popularity and success of the sports film genre is that
male athletes fill a cultural need for heroes at times between wars and other
aggressive political activities” (2008, P113). In the American context, sports films
also propagate “the American dream” and are “generally notable for their emphasis
on white America” (Briley, Schoenecke, & Carmichael 2008, p 6). Although not a
sports movie, Ted Lasso is perhaps one of the most popular current pieces of
fictional sports media and is redefining what narratives sports fiction. Ted Lasso,
hinges on a premise of American exceptionalism, and stereotypes of masculinity
only to immediately begin deconstructing the assumptions its audience perhaps
would make given the context. Take for example the circumstances of the shows’
existence and premise. It is produced by apple tv, one of most famous technology
companies that was, in fact factually, mythically founded in the garage of the co-
founder’s parents’ house in LA. The premise of show sees Jason Sudeikis, a SNL
alum and beloved American actor play a plucky and annoyingly charming Texan NFL
coach who openly admits he has no knowledge of soccer. Instead of industry or
sport based experience, Ted fosters an approach of compassion to coaching. Ted is
placed in direct opposition to his team and 4 key players in the show’s narrative.
Roy, the gruff team captain who is verge of retirement, Jamie the arrogant star
player, Nate the meek team assistant and lastly but perhaps most importantly,
Rebecca the team owner, the recent divorcee of the previous owner who left her for
a younger woman.

What is perhaps the first and easiest argument to make in favour Ted Lasso’s more
considered approach to masculinity is the absence are certain hallmarks of the
sports film genre that tend to sexualise men and women. Firstly the lack of the visual
imagery ascribed to hegemonic masculinity and reframing of the locker room scenes.
Not only are male bodies are fetishized and sexualised in screen depictions of sports
but fascination with movement of the body is the foreground of why sport ever
started being produced in video media (Briley, R, Schoenecke, MK, & Carmichael,
DA 2008). However notably in Ted Lasso there is very screen time dedicated to
seeing the characters play soccer, or if they do, rarely is it in a physical display of
exceptionalism. Likewise even scenarios where character’s could be easily
sexualised, think training in the gym, in the locker room, the members of the team
are almost never depicted shirtless nor is there great attention paid to their bodies.
Like most screen media, many of the actors are conventionally attractive yet it is in
how the camera never lingers on shots of glistening muscles, oily bodies, or close up
of abs. It is lack of the “porno-ization” of the “sporting bodies (Jirasek, Ivo, Kohe,
Geoffery Zain and Hurych, Emanuel 2013, p721) that is often found in sport media.
One of the main ways that sports media re-enforced notions of hegemonic
masculinity is through the display of physical supremacy, therefore the lack of these
images in the tv series is significant in how it alters our understanding of the gender
hierarchy in the context of the show, and more specifically how masculinity is
communicated. Likewise, the culture of Ted Lasso’s locker room is significant in a
similar manor. Culturally the locker room is “enshrined in sports mythology as the
bastion of privilege and centre of fraternal bonding” (Curry 1991, p119), invoking
activities that are “negative towards women and other who are perceived as
outsiders to the fraternal group” (p 120). However this is not the case in Ted Lasso.
Undeniably the locker room functions as a haven for the members of Richmond FC.
Season 1 Episode 10, It’s the hope that kills you, opens with Nate entering the room
to find it cleaned by the ‘new club-house attendant’, enraged he demands “what the
fuck is going on?” to Ted, only to be surprised by Rebecca who has promoted him,
revealing the rest of the team who have been hiding awaiting the surprise (it’s the
hope the gets you 2020). This moment deftly plays on the audience’s expectation,
given the cultural context of the locker room and Nate’s positioning as a lesser or
weaker male character. Similarly, it is the location where Roy chooses to hand over
the captaincy to Isaac as he is to benched at the beginning of the match and where
Ted congratulated the team on a game well played despite their loss. The adjoining
team management office is also host to the diamond dogs, a group where the team
managers “just chat about shit, and no one has to fucking solve anything and nothing
fucking changes” (inverting the pyramid of success 2021)

The masculinity hierarchy is also examined through the characterisation of Ted, Nate
and Roy in relation to one another. The narratives of these 3 male characters
provide a commentary on the way in which men navigate the gender hierarchy, as
well their presence around on another provided examples of emotional intelligent
and nuanced heterosexual friendships. Ted’s seemingly unwavering optimist
philosophy and character is placed in direct opposition to Roy, who can be seen to
embody, more so than any other character, values of masculinity. When first
introduced Roy speaks mostly in explicit language, is grumpy and scowls frequently.
However throughout the course of the 2 seasons, he begins to express emotional
vulnerability and his own short comings as one of oldest players on the team, leading
to his retirement in season 2. With age, his athletic ability has decreased, and
although still recognised as historically one of the best players he is no longer
valuable to the team as a player. His narrative then becomes about recognising his
self-value outside of his athletic ability, the show metaphorically, rewarding his
emotional growth with a job coaching alongside Ted and affection of Keely, his
girlfriend and ex of another star player. In contrast, Nate, who begins the series as a
club-house attendant undergoes a similar journey of recognising his value outside of
his ability to perform attributes of masculinity, whether it be sexual prowess,
athleticism, intelligence. Yet where his relationship differs to Roy, is that he is not
able to accept weakness in others (particularly in Ted) as he feels was punished by
for his own short comings. In the season 2 finale Nate admits to Roy he kissed
Keely, he is then forgiven by and somewhat brushed off. Nate is clearly annoyed by
Roy’s lack of jealousy, interpretating it as not being perceived as a threat. By the end
of the episode Nate abandons the team and takes a coaching job with their rivals.
Notably, Nate is a person of colour of Greek Cypriot and Trinidadian descent (as
mirrored off the actor who plays him), with many of his actions being attributed to
wanting to please his father, thus Nate’s to hold power in the context of the show, but
through his job and social standing can be understood as a consequence of the
benefits afforded to whiteness under hegemonic masculinity. Roy and Nate
represent extremes in navigating the gender hierarchy, Roy as healing from its
effects and making positive changes, and Nate as a cautionary tale.

Similarly, the contrast between Rebecca and Ted, particularly in how they both
handle their respective divorcees is another key avenue in which the gender
hierarchy is examined in Ted Lasso. In a swap of normative gender portrayals,
Rebecca, the team owner and Ted’s boss is the more cold and cunning of the pair, in
contrast to Ted’s quirky and dorkish demeaner. This however can be attributed the
circumstances of Rebecca’s failed marriage and premise of the show. Her husband
leaves her after years of affairs and, in retaliation, Rebecca plots to destroy the
legacy of the football club by hiring Ted, as it was a prized possession of her ex.
Rebecca too is disadvantaged by systems of power relating to gender; she is shown
facing casual misogyny and literally likened to being a possession of her ex’s that
was traded out when no longer deemed worthy. It is important to note hegemonic
masculinity is not simply the practice of a certain kind of masculinity but the
“questions of gender relations and the legitimation of gender inequality”
(Messerschmidt 2019, p88). IN the argument for Ted Lasso as a media text
challenges notions of hegemonic masculinity it must be acknowledged the power
and presence of a gender hierarchy in the foreground of its representations.
Rebecca easily could have become a stereotype of a bitter scornful ex, evoking the
idea of the shrew or undesirable women from literature, instead Rebecca
characterised beyond that of her ex and to tell a story of her own sexual liberation.
Additionally it is refreshing to see a women in a sports narrative that is neither A.
overcoming adversity in a male dominant field or B. a sexual conquest/prize for the
athlete. Ted’s deteriorating relationship with his wife opens an different avenue,
focusing more in the second season on mental health and wellbeing. In a poignant
moment mid-season 2 Ted has a panic attack and has to leave during a match. Ted
for most of the show undergoes little to no character development, serving as
personification of anthesis hegemonic masculinity, but in this arch is seen to not only
have short comings, but seemly unable to acknowledge them. That is until he can be
emotionally authentic the team’s psychologist toward the end of season 2. I think
what makes this, in particular, a powerful moment is that Ted easily could have
remained the moral centre of the show, teaching others without any growth himself,
but instead even Ted who is mature and wise, is still entrenched systems of
masculinity and must undergo a process of unlearning it.

The last point I wish to make because I conclude is to discuss another prevailing
theory of masculinity of the Metro Sexual male in sport. Metro sexuality can be is
defined as a man who is concerned with his appearance and practices a softer
masculinity, or more bluntly, references male narcissism as born out of male-
oriented marketing. David Beckham, the famous soccer star “has become a ‘poster-
boy’ for metrosexuality” (Harris & parker 2009, p135) and is mirrored in Ted Lasso
with the character of Jamie Tart. Like Beckham’s, Jamie’s fame although attributed
to athletic prowess transcends from athlete to celebrity, and is thus pierced by
different standards that require him to thing like get a wax “all over” (pilot 2020). This
is notable in it’s opposition to dominant masculinity, yet does not necessarily offer
insight and examination of gender hierarchy, moreover highlights extend to which
masculinity in varying ways is performed through sports arenas.
Ted Lasso whether intentionally or not provides a nuanced commentary on the state
of masculinity in sports media offering refreshing and varied portrayals of
masculinity. This research would have greatly benefited from larger scope as to
encompass plots and narratives devices in the show that went unmentioned, likewise
this essay was not able to cover the effects of such media representations and call
for further research specifically in how audiences have received this text and similar
messages.

Citations

Anderson, E (2005), In the Game: Gay Athletes and the Cult of Masculinity, State
University of New York Press, Ithaca.

Briley, R, Schoenecke, MK, & Carmichael, DA (eds) (2008), All-Stars and Movie
Stars : Sports in Film and History, University Press of Kentucky, Lexington.

Connell, R. W. and Messerschmidt, J W. (2005,) “Hegemonic Masculinity: Rethinking

the Concept,” Gender & society, 19(6), pp. 829–859.

Curry, T J (1991), “Fraternal Bonding in the Locker Room: A Profeminist Analysis of

Talk about Competition and Women,” Sociology of sport journal, 8(2), pp. 119–135.

Cleland, J. (2014), “Association Football and the Representation of Homosexuality

by the Print Media.” Journal of Homosexuality 61 (9): 1269–1287

‘Inverting the pyramid of success’ (2021), Ted Lasso, season 2, episode 12. Apple
Tv, 8 October.

‘It’s the hope that gets you’ (2020), Ted Lasso, season 1, episode 10. Apple TV, 2
October.

Jirasek, Ivo, Kohe, Geoffery Zain and Hurych, Emanuel (2013), “Reimagining athletic
nudity: the sexualization of sport as a sign of a 'porno-ization' of culture,” Sport in
society, 16(6), pp. 721–734.

Lapchick, R. (2018), “The 2018 Associated Press Sports Editors Racial and Gender
Report Card.”
Messerschmidt, James W. (2019) “The Salience of ‘Hegemonic Masculinity,’” Men
and masculinities, 22(1), pp. 85–91.
McIntosh, S (2021), “Ted Lasso: What's the big deal about Emmy-winning football
comedy?”, BBC news, https://www.bbc.com/news/entertainment-arts-57968595

Mulvey, L (1973), ‘Visual Pleasure and Narrative Cinema’, Screen, vol. 25, no. 3, pp.
6-18.

Peabody awards (2020), “Ted Lasso Award Profile”, Peabody awards,

https://peabodyawards.com/award-profile/ted-lasso/

‘Pilot’ (2020), Ted Lasso, season 1, episode 1. Apple TV, 14 August.