The season opens with the jarring image of Coach Lasso manning a supermarket register. Still in the Midwest a few years after the events of Season 3, he loves being with his son, Henry (Grant Feely), but is so bored at work, he steals snackfood for kicks. So it’s a relief when his old boss, Rebecca (Hannah Waddingham), and colleagues Keeley (Juno Temple) and Higgins (Jeremy Swift) fly in to persuade him to coach the Lady Greyhounds. Never mind that he still doesn’t know much about soccer, or that there are many qualified female candidates back in the UK—he’s the only name on their list. When his ex, Michelle (Andrea Anders), frictionlessly agrees to move with him and Henry to London, everything’s coming up Ted.
From left: Jeremy Swift, Hannah Waddingham, Juno Temple and Jason Sudeikis in Ted Lasso Season 4 —Apple TVThe original Ted Lasso was a show about masculinity. Neither particularly funny nor especially exciting in its depiction of Premier League play, it appealed to a broad audience with a vision that was comforting to viewers of all genders—of macho, mostly straight men becoming better people through bonding and introspection. The catalyst for this was kind, empathetic Ted, who played Gallant to a gaggle of Goofuses: angry Roy, preening Jamie, insecure Nate. To its credit, the show put an anxious, avoidant Coach Lasso on the analyst’s couch, too. His ultimate choice to go home to Henry concluded an arc that had him learn to stop running from problems like his divorce and ended the cycle of dad trauma in which several characters’ struggles were rooted.
Annette Badland, Grant Feely and Jason Sudeikis in Ted Lasso Season 4 —Apple TVFemale characters were never the mostly male Ted Lasso creative team’s strength. Despite charming performances from Waddingham and Temple, Rebecca and Keeley’s business plot never lives up to its potential because these colleagues continue to interact like giggly teenagers at a slumber party. Although there are plenty of women writing and directing in Season 4, Alice—the highlight of the series’ second act so far—is the only substantial character who doesn’t feel filtered through the male gaze.
No longer a tutorial in how to be a good man, Ted Lasso returns as, in parts, a gentle rejoinder to sexism in sports and a gift to those still shipping Roy and Keeley, but mostly a workplace comfort show about nothing in particular. TV could certainly use more scripted stories about women athletes—a Friday Night Lights for softball, a Winning Time for the WNBA, a sapphic hockey romance in the mold of Heated Rivalry and Off Campus. But a different coach is going to have to inspire those locker rooms, because Ted Lasso just doesn’t belong.
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