Kara and Adina reflect on the Ted Lasso finale and the journey for each of the main characters from the beginning of the show to the end, addressing the differences in network constraints vs streaming freedom, the consequences of expanding episode length for production workers, and why we never want these writers near romance again. Subscribe to our newsletter at itsinmyqueue.substack.com. Find us on Twitter: @inmyqueuepod • @adinaterrific • @karaaa_powell And Instagram: @inmyqueuepod or send comments, questions, and show suggestions to us at itsinmyqueuepod@gmail.com!
Kara and Adina reflect on the Ted Lasso finale and the journey for each of the main characters from the beginning of the show to the end, addressing the differences in network constraints vs streaming freedom, the consequences of expanding episode length for production workers, and why we never want these writers near romance again.
Subscribe to our newsletter at itsinmyqueue.substack.com.
Find us on Twitter: @inmyqueuepod • @adinaterrific • @karaaa_powell
And Instagram: @inmyqueuepod
or send comments, questions, and show suggestions to us at itsinmyqueuepod@gmail.com!
Kara: [00:00:00] Welcome to It's in My Queue, the podcast where we talk about all things TV. I'm Kara
Adina: and I'm Adina.
Kara: And today we're talking about Ted Lasso again. Before we begin since the last time we recorded, I think it was just the W G A on strike. So fun hot strike, summer update. Now, SAG AFTRA is also on strike.
Adina: As you probably may have heard 'cause it's been a few weeks now and it's been almost like two and a half months for the wga.
A almost, almost three months, almost like 90 days.
Kara: I think it'll be like 90 days this week.
Adina: Yeah. It's gonna get to 90 days soon, which might bring some sort of new fallout because 90 days is, I think, where certain overall deals hit a clause where they're allowed to be terminated. So there may be some news on that front coming up.
But right now, basically since SAG started striking, the big news is that there is no news is that the AMPTP, which are all [00:01:00] the studios and producers and people are simply refusing to negotiate further with either of the guilds they've basically taken the stance of like, "well, you're striking. That's not very nice. We don't wanna negotiate further," when the only way that this will get resolved is through further negotiation. And both of the guilds are very willing to keep negotiating. They just didn't want to extend their contracts and keep working while they were negotiating. They wanted to go on strike to show their influence and show their importance, which makes sense.
But yeah, it's very bizarre to me that they're like, obviously we are very much on the side of the guilds and we think they really deserve what they're asking for. But you know, even from the perspective of the business people who it's kind of their job to like give up as little as possible so they can make the most money, even from their perspective, it's baffling to me why they wouldn't wanna make progress.
Kara: I actually find it a bit baffling that particularly like broadcast networks have not put their [00:02:00] foot down with some of like the streaming services because their format is far more affected.
Adina: And they're gonna be comparatively less screwed by some of the things that the streaming platforms really don't want to give in on. It's really only streaming residuals that are a major sticking point right now. Like there are still like percent increases for broadcast work, there's always percent increases on every one of these contracts.
I think the, the real problem is that the broadcast networks feel like they're already kind of suffering, I think, and that they all kind of rushed to get in streaming as well. I have to imagine they're just worried 'cause they're already in a precarious spot that like, if they give into something that they'll just end up worse off than the other companies.
Kara: And I think a big thing of the reason that people are still holding out is because streaming services are not actually sharing their numbers, I think that they don't want people to really know about them.
Adina: Because yeah, the streaming services currently are not [00:03:00] transparent at all about their viewership numbers. Some of them report some kinds of numbers, like you guys have probably seen like the Netflix Top 10 and like they're talking about this many millions and billions of minutes viewed of our most popular shows. But they're not really being clear about how many people are watching, how many people are finishing, and how fast, which we know they've referred to some of these things in interviews as metrics that they use for themselves to figure out if they wanna keep making a show or how much they're gonna pay people for making a show. But they're refusing to give those numbers publicly, which is very frustrating for the creators obviously, to feel like they have no idea how important their show is to the platform, if it's gonna be renewed or if they're getting paid, what they should get paid for, how important it is. It's frustrating to viewers when they feel like a show that they think is very popular and maybe gonna get renewed doesn't. And it's also frustrating for advertisers now that advertising is becoming a much bigger thing in streaming, because then it's much harder for them to know if they're getting their money's worth.
The data transparency would be [00:04:00] objectively a good thing for everybody else. But for the companies, there's two scenarios. Either they're trying to hide that their numbers are way higher than anyone thinks, and that, you know, they really should be paying out more residuals to, to all the people that make things. Or they're trying to hide that it's way lower than anyone thinks and then they'll lose all the Wall Street love and the investors will pull out and the stocks will crash.
So, because it's very much a model that just doesn't make a lot of one-to-one sense in terms of the money going in and the money coming out. Something's gonna give. It's just a question of what.
Kara: Yeah. I think that while the strike is going on, we might also talk about some shows that are on networks just because you know, there's a lot of good stuff that's on network television. And there's a reason it's still on. It's 'cause people are watching it. Yeah. And 'cause the model works.
Adina: Even though there are a lot of exciting new [00:05:00] things about streaming as compared to broadcast, like there's more freedom in the content, there's more freedom in the format and the runtime. There's oftentimes more different kinds of voices and creators got opportunities on streaming versus the more limited opportunities on broadcast. And you can binge things, you can watch them whenever you want. Obviously those are a lot of pluses.
But we're now seeing a lot of the flaws of the streaming model and we're kind of maybe yearning for some of the strengths of the broadcast model. So if anybody has suggestions of broadcast TV type shows that you would really like to see us cover you can let us know.
Definitely if you want more updates on what's going on in the business, definitely do subscribe to our newsletter. itsinmyqueue.substack.com.. Type in your email and then you will get a nice free email once a week from us telling you updates on the industry.
Now without further ado, let's talk about Ted Lasso.
Ted Lasso actually really epitomizes some of those potential strengths and weaknesses of the streaming era, I [00:06:00] think because it's a show that in some ways made really good use of the freedom that they have of being on a streaming platform. But in other ways, I think they got intoxicated by that freedom, and I think that perhaps the show could have been stronger if it had more firm constraints.
Some of you guys may have listened to an episode we did last year. We discussed the Ted Lasso pilot, with a special guest, Vynique Moon. We had a very nice discussion about it. At that point, only the first two seasons were out. And I think we did discuss some of the hesitations we had about season two.
I mean, I liked season two. I still thought it was quite strong, but I think, I felt a little bit less universally positive about it as some people had. Like I remember there was a lot of praise as it was coming out of like the show tackling topics like mental health and such, and like how it wasn't afraid to go into a little bit more drama territory in season two. And I was feeling more like, this is an interesting experiment for a show that started out as a half hour comedy [00:07:00] to kind of be shifting towards. A quote unquote hour long, like hour long TV episodes are usually like 45 minutes. And that's how long it was getting in season two.
Kara: Yeah. And I feel like going into season three, my whole brain was like, I'd heard Jason Sudeikis say that he had mapped out three seasons and he like, knew how it was going to end. And now with like the whole picture of all of it, I wanna know what happened.
Adina: When he initially said, I think after season one, I think he said that he had a three season arc. And that totally made sense to me. I was like, season one ends on a bummer note. They lose, they get relegated. Right. So then I was like, okay, very natural season two, they kind of have to rise to the challenge, win their way back in, season three can be the triumphant victory. That overall arc makes a lot of sense and I'm, I'm not trying to dis it by being like it's predictable.
It is kind of predictable, because that's how we like stories to be. It seems to me [00:08:00] like they had that rough three season arc, and then kind of got distracted by the shiny things along the way. And the thing is, if they were on network, they would presumably have a half hour slot based on season one.
And if they wanted to go longer, maybe for one or two special episodes, they might be able to win it. If they wanted to consistently go longer into an hour long slot... I don't know that that has ever happened on a broadcast show. I, I don't know of any examples of it. Maybe it has, but it definitely is not a common thing.
Because they're on streaming and because I think because season one and two were such a hit for Apple , they probably just kind of weren't gonna say no to them on anything.
And so season two, the runtime was expanding. And then season three it basically doubled. Just for context, I mean, I'm sure anyone who's watched the show could tell that it was getting longer as it went on, but I looked up the stats.
Season one had 10 episodes that ranged from 30 minutes to 34 minutes, pretty tight range. Season two, the shortest episode was [00:09:00] 34 minutes. The previous maximum, and the longest was I think 49. And about half of the season was in, was over 40 minutes long. So it was noticeably longer, but still okay, maybe not that far off from being a half hour. Season three, the shortest episode was 43 minutes, and most of them were over 50 and four of the 12 episodes were over an hour. So it's like pretty drastic. Season one was averaging 31 minutes an episode. Season two averaged about 39 minutes an episode. And season three averaged 55 minutes per episode.
Kara: This is interesting. I'm not saying that comedies can't be an hour because like The Great is an example of an hour long comedy.
Adina: So this brings up the whole idea of like a comedy. Ted Lasso is still a comedy. It has, it's the current reigning victor of outstanding comedy series for the last two years for the, for season one and season [00:10:00] two at the Emmys. And it's still nominated in the comedy categories despite now being an hour long show, which is not unprecedented. There have been other hour long shows that have been nominated in the comedy category, such as Marvelous Mrs. Maisel is there this year as well. I feel like a lot of people recently have been confused about the comedy versus drama distinction at the Emmys, because those categories used to be pretty clear cut in terms of hour long shows were considered dramas and half hour shows were considered comedies. And that's also when there were very clear, like your show was either filling a half hour time slot or an hour time slot. There really wasn't anything else in between. And the only slight differences in runtime would be slight variations in the amount of commercials.
So obviously with streaming, that has shifted. There's a lot of shows that are having runtimes in the like 30 to 40 minute range, which was like completely unheard of before. And then there are shows that are running like over an hour for their episodes. And a lot more shows are doing a blend of comedy and drama.
Like honestly, I would say most popular [00:11:00] shows these days, you can kind of make a case for both. Like Succession is a very funny show. It is obviously a drama, but it is very funny. And then there's multiple shows now in the, that are nominated for best comedy, such as, I think Barry and The Bear are probably the two most notable. They're both nominated in the comedy categories, but they're both pretty dramatic. And as for Barry, I feel like it was a little bit more of an obvious, like dark comedy and the earlier seasons.
Kara: With the Bear, I think I've only laughed twice. The entire time I've watched the Bear.
Adina: In recent years. As we said, there have been a few hour long comedies that have gone into the comedy category because I think tone-wise they, you know, you look at something like Glee and it's like, it's goofy even though it's an hour long. I feel like the Emmys don't know how to react to a half hour drama because half hour has always been sitcoms. As long as TV has been a thing. It's only in recent years that this half hour dramedy has gained popularity and has really started to been nominated for [00:12:00] awards.
I am not super familiar with the rules, but I think the rules say something along the lines of a show can try, a show can say what category it wants to be considered for, but the Emmy's committee is allowed to override it if they disagree, I think. I imagine for Ted Lasso, given the fact that it was already in the comedy categories, it would take a huge shift for them to push it to drama.
But for something like The Bear, this is the first time, this year is the first time the Bear is eligible for the Emmys. And so, I don't know, like Kara, do you know if the show wanted to be considered as a drama?
Kara: I actually have no idea.
Adina: like from their perspective, if they want the best chance of awards, they're gonna have a better chance in the comedy categories. Simply for the reason of not going up against Succession, if nothing else.
Kara: I honestly think that season two should move to drama. I just don't think a comedy should be giving me anxiety the way that Watching The Bear [00:13:00] did. And I like the Bear a lot. Like I think it's a very well done show. I just don't think it's a comedy at all.
Adina: And I think this highlights the fact that most of these distinctions, such as supporting actor, lead actor, that kind of thing are very blurry. Guest actor does have a clear rule. There is a rule that if you're in at least 50% of the episodes of a season, you cannot be nominated as a guest performer. But between lead and supporting, as far as I know, there are no clear cut limits. I think it is another case of the performer gets to choose where they wanna submit, and the Emmys committee, I think can overwrite it if they really disagree, but I think most of the time they just let people go where they wanna go.
So yeah, we don't really have any answers for you. Yeah. Other than those categories are not super defined.
Kara: Watch what you wanna watch. Yeah. Don't let the awards season define what you're watching because you'll miss out on a lot of really good stuff.
Adina: So, returning to Ted Lasso, it was really successful. It has been really successful at the Emmy's thus far. People I think really responded especially to season one, being really [00:14:00] positive and heartwarming and fun. And then season two kind of impressed people again by still being fun, but also kind of tackling some slightly heavier topics.
Here's where we get to the section where like, our family members and maybe some other people listening will maybe disagree with us. Kara and I both did not really like Ted Lasso season three. I think that's fair to say. And it's not so much that it was awful. I just wanna clarify this, we're about to make a lot of criticisms of it. Not to say that it's awful. It's still fun to watch in some ways, but I think we both felt a lot of frustration of it could have been so much better and we felt a lot of the choices were just bizarre or, not the best choices that could have been made.
Kara: And some context to this that might be helpful is that in seasons one and two, Bill Lawrence was the showrunner. He has television experience. But then Bill Lawrence went to go show Run [00:15:00] Shrinking, which is also on Apple TV. I haven't watched it yet, but I've heard nice things. So he was not around to help with season three.
Adina: There were also like stories coming out while season three was in production. Jason Sudeikis, there were stories that like he was going over budget. That production was taking a really long time. In fact season three was so like kind of over its expectations on production that some of you who watched Ted Lasso season three, like religiously, you might have noticed that the finale came out three hours later than the rest of the season had been coming out. And the reason for that was apparently that the visual effects were not actually done on the finale. Like they were using those last few hours. They actually needed the time to finish it up. Because they, they had way more visual effects and the episode was way longer. .So when you do that, as a writer, you're responsible for not only telling the story, but whatever you come up with, the rest of the people working on that show have to make it happen. [00:16:00] So there's a shit ton of responsibility on you to make something that you know is good, but also that is not going to make everybody else's lives hell. So if you're indulgent and you're refusing to cut moments, that's gonna make more work for everybody else and they don't necessarily get more time to do it.
Kara: And a lot of that, like if you're a staff writer or something, or like not a producer, then the showrunner is the one who's kind of making those decisions about like cutting and making sure that you know it fits into the time allotted and that you're not going over budget. Because that's the showrunner's job.
Adina: It's also like the network and studio executives jobs to like say no to the showrunner. Clearly there were people at Apple who were not saying no, who were not saying, you absolutely must stop. You absolutely must come in at a lower budget.
Kara: I also think that specifically with Amazon and Apple, because they have so much money in other departments because like their, like Apple has all their tech and like Amazon has [00:17:00] literally all of Amazon, they don't care as much about like not making money with TV the way some of the other streaming services do because it's just like a little extra thing they're doing.
Like they're gonna make their money another way. Yeah. Their profit.
Adina: If we imagine, this is not based on anything real, but if we imagine there's maybe some Apple execs that are working more closely with Ted Lasso and maybe those are the people that either did or didn't try and give notes and be like, maybe make this shorter, even if that person hypothetically protests, it gets run up the ladder to their big boss who sits in some office in fucking Cupertino, and they're just seeing, okay, we're gonna pay x more million dollars to rush this through and to make, you know, the people that make Ted lasso happy. And then we're gonna get another 5 to 10 Emmys in the name of Apple. Yeah, we can spend a few million dollars for a few more Emmys. That money's literally nothing to Apple.
This is just kind of an example of like, streaming can provide some really good things for creatives and for the industry, but it also can have unexpected [00:18:00] backlash. Sometimes the constraints can actually be for the better.
Now let's get into a little more of like the actual objections that we had with what happened in season three. We'll kind of approach this like character by character, I guess as we did for Succession.
So starting with Ted, Ted Lasso the main character, although the season three was all like it's not actually about him, and when we talked about the pilot, we had a pretty good discussion about how in a lot of ways Rebecca is more of the main character of this show than Ted.
So Ted is a little bit more in the backseat in season three, which I don't think was necessarily a bad thing. After, you know, season one was kind of focused on Ted adjusting to being in England and kind of accepting his emotions about his failing marriage, I guess a little bit. He had a really good arc in season two as he's working with Dr. Sharon and finally kind of confronting some of his mental health issues, his anxiety, his emotions about his father. I think a lot of people really liked that and I think that was [00:19:00] done pretty well. Season three to me was odd because, It was kind of like, obviously you're still working on that stuff for your whole life. It's not like he actually solved it. But from a story point of view, Dr. Sharon was gone. I mean, we saw her a couple of times, but like, it wasn't a focal point of the story anymore that Ted was working through that stuff. He was kind of like sad about Michelle moving on and kind of bitter about that. It didn't feel like a new story for him. I don't know. It felt kind of like a step back.
Kara: That's, I think, a good way to describe a lot of what happened with all of the characters in this season. It felt like they were all kind of taking a step back.
Adina: I think they solved everything a little bit too much in season two, and so they had to make a lot of them take a step back in season three. Ted was just kind of like, Jealous from afar that Michelle was moving on and he kind of realized that it's bad that he's in another country when he's away from his son, which makes sense, 'cause they did have to set up him going home. That's a very logical [00:20:00] ending for the series. It didn't feel like that was working towards him figuring it out. I was like, you could have gone home at any point, man.
Kara: It felt like there were just these little pieces of information that never fully got brought up again. Like for example Michelle texts Ted about how Henry, his son got in trouble about a bullying thing and then it turns out that Henry was the bully. And they had like a little conversation that didn't really seem to do anything about the fact that Henry was bullying someone.
Adina: They also had Ted's mom show up, which I think was them realizing like, we did this big thing about his dad last season. We need to do something else that big for Ted, but his mom. I don't remember hearing all that much about his mom before. And so it was like a nice and a fine episode. I got the feeling of it was like tense because he didn't wanna tell her to leave, but he felt a lot of pressure to try and be happy and fine in front of her. That was kind of the vibe I was getting. I might have liked if his mom happened a little earlier in the season and we could [00:21:00] have unpacked his issues about like being okay with being sad a little earlier. Maybe it could have been something a little more coherent about Ted and his mom being like, it's okay to like have our bad emotions out in the open and like vent them.
Kara: I feel like everything that happened to Ted was just a little bit generally confusing and this goes back to I think them sort of solving, I put that in air quotes, his anxiety because I feel like it's a lot less prevalent throughout this season.
He has like little moments, like I feel like his anxiety showed up most like when his mother showed up and when he thought Michelle was gonna get engaged.
Adina: It also highlights the fact of the central premise of this show is something that works really well for a comedy but not for anything you expect us to take seriously, which is that Ted is an American football coach and doesn't know anything about soccer, which is really, really funny. but as soon as you start trying to get us to seriously care about how well the team is doing, I was like, [00:22:00] why by his third season does Ted still not know basic things about soccer? Has he not picked up a book this entire time? And like they had that, that kind of fun sequence where he like goes in the dream world and learns about total football, which is actually like a super obvious thing that people invented a long time ago. Which was funny. But I was like, is this arc about him learning to become a good football coach? Or is it about how he's a good coach even though he doesn't know strategy? 'cause he's good for the team. Something wasn't working for that about me. I was like, is he a good coach or not? Are they a good team or not? And I know the show's not really about that, but they were spending a lot of time talking about the strategy. And it was kind of losing me.
Kara: That's why I think it's interesting that this was on Apple. And not on like a network because I do think it fits like more in the sitcom vibe, premise wise. Like I could very much see this doing well on like NBC but I think more so in the vein of what season one was.
Adina: It's a great premise for a [00:23:00] sketch or a sitcom. I kind of wish they either, Would've just stayed silly or they would've maybe seriously addressed the fact of like, is he actually a good coach?
Kara: But maybe this is now how we can transition into talking about Rebecca.
Adina: As we mentioned, Rebecca is actually framed as the protagonist in the pilot and in a lot of season one in a way. 'cause she's the one who. Has a more concrete want. Like Ted's just kind of running away from his problems. He doesn't really want anything outta the team. He's just there for a job. But Rebecca actually wants something, which is her goal is to ruin this team's success to make her ex-husband Rupert unhappy because he treated her very badly. And so she hires Ted because he doesn't know what he's doing and she wants to embarrass the team, which makes for a really fun and interesting conflict in season one as she slowly learns more about the team and more about Ted. And she starts to feel bad about lying to him and setting them up to fail. Which I think was a really marvelous arc in season one.
Season two [00:24:00] begins with Rebecca now actually invested in the team. And trying to help them succeed, even though they don't seem to have the tools to do so. And she's also trying to kind of move on from Rupert and open her heart. She goes on a date or two with some random guys and doesn't feel special, and then she has an unexpected, powerful connection with one of the players, Sam, which is weird because she's his boss and she's like 20 years older than him.
Kara: Yeah. When Sam said that he was 21, I went, excuse me?.
Adina: Yeah. That shocked me. I thought he was at least like 24. 21 is real young.
Kara: I know. Like, I can't imagine.
Adina: Anyway, yeah, they ended amicably though.
Kara: I think that a lot of, a lot of Ted and Rebecca's journeys for the first two seasons sort of parallels each other.
Adina: Yeah. And so Rebecca also in season three, she had a few interesting things, but I feel similarly to the way I felt about Ted, which was that it felt outta focus and it felt like the different parts weren't connecting as much.[00:25:00]
One of the things about season three was they had more runtime, but they also really went into a lot more different characters than they did before. Like people that were just like kind of background joke characters kind of got full stories in some episodes, which was, I think some fans really enjoyed. But I was like, do I care? Like I don't think I would care if I didn't have a story about Will.
The thing about Rebecca is like, yes, she had a decent amount to do in season three, but because of the way the episodes were, there were some episodes that focused very heavily on her few plot points and then other episodes where she felt almost completely absent.
Kara: I mentioned when we talked about Ted Lasso the pilot, and we're gonna get to Keeley in a second. I felt as though the writers only knew how to write one woman, and that woman is Rebecca. But then in season three, it kind of feels like they forgot how to use her properly.
Adina: It was bizarre because the one kind of main conflict for Rebecca in season three is she wants to find love and she wants to have a child. And her mother gets her to see this psychic, and Rebecca doesn't [00:26:00] really believe in it, but this psychic gives her this prediction with a bunch of nonsense and then also says she's gonna become a mother. And Rebecca's like, fuck you, don't give me false hope about that. 'cause she knows that she's probably past the age where it's easy for her to conceive a child, but she goes to the fertility doctor, she gets the bad news that she probably can't have a child.
But then they go to Amsterdam and she meets this charming stranger who has a houseboat. We see that Dutch guy, nice guy. No mention of him. She doesn't seem to be still pursuing him or want to pursue him for the next several episodes.
But then she runs into the Dutch man after seeing Ted off at the airport in the last episode. And then they're married and we don't even know this man's name still after the show has ended, he doesn't have a name and oh, and the other is that he has a daughter. He has a daughter. So Rebecca's now a stepmother.
I don't hate the idea of this arc in general, but I hate that we didn't get to actually know, or like this Dutch man, the fact that he doesn't even have a name. It [00:27:00] feels like they just really got invested in the idea of "we're gonna have a guy that people think is a one-off and then that's gonna be Rebecca's guy and it's gonna be so surprising and fun." but it wasn't. you could see a coming a mile away. It wasn't surprising or fun. And I wish I could have gotten more invested in this guy.
Kara: I'm like very into romance and this show, I don't feel these writers really understand romance properly.
Adina: There hasn't been any good relationship, honestly.
Kara: That's why I feel comfortable saying, I don't think they
understand romance. I think it would've been more compelling she was still thinking about him more throughout the whole thing. If maybe he found her sooner.
Adina: They were so invested in trying to surprise the audience. I think that they gave up the idea of actually writing something more compelling.
Kara: What was lost is probably more stuff with Rebecca that maybe would've made this made more sense had they not wanted to spend so much time with some of the other players. I didn't necessarily hate any of the stuff they did with the other players. it just felt like not the right [00:28:00] use of time.
Adina: It was funny, but not funny enough to make me glad that the episodes were longer, but not addressing plots that I wanted.
Kara: My other thing of the whole, like going to see the psychic is that in the beginning after she sees the psychic, some of the things the psychic said begin to come true, but then not all of the clues lined up.
Adina: You can do a surprise twist like that if you do it in such a way that the, you realize in retrospect the foreshadowing was all there and you're like, "oh my God. Of course." But they brought up the clues one or two times and they were either in random in passing or they seemed to be pointing at Sam. So they were like, "Ooh, what if we do a misdirect?" . Which like, yes, that's a thing in writing, but what baffles me is that these writers did a reveal like that before, and they did it correctly in season two.
They did a perfect execution of this technique where you set up clues to make the audience think one thing and then it's something else, but it makes total sense, which is when they revealed that Rebecca and Sam were messaging each other on Bantr. [00:29:00] They set you up to think that it was Rebecca messaging Ted, because you knew that Rebecca and Ted had both downloaded the app and there were a few shots of them messaging and like, like her typing and then Ted like putting his phone away and smiling. That really made it look like they were messaging each other and all the things that the guy she was messaging was saying, like, I live in London and something football, and he was like very nice and kind and positive. It really sounded like Ted. But then you see that it's Sam. And that also makes perfect sense because we also know Keely told all the players to get on the app and we also know that Sam is really positive and nice just like Ted. So that's why it works. 'cause it surprises you, but it makes sense.
Kara: Like even if you hated the fact that they got into a relationship even a little bit, which is like valid and fair, it made sense.
I'm not as much of a Ted Lasso fan as some of my other friends are, but I know that some of them who were particularly invested because of Rebecca were pretty disappointed because it's very rare that you see a woman of [00:30:00] Rebecca's age like really being loved, like in, in any sort of manner on screen. There was a lot of set up for her to really get a good, happy ending that I feel like kind of got thrown to the wayside this season.
Adina: It was like, we wanna give her a happy ending, but we don't wanna actually really spend time on it. I didn't like Rebecca and Sam that much together as a couple. I thought it was fine as like a mid-season arc, but I wasn't really rooting for them to stay together at all. But I honestly would've preferred a season where they kind of had a slow burn and then got back together over this Dutch man. 'cause at least I would've been invested, at least I would've gotten to see more over time. Then I could have been happy for both of them, even if it wasn't necessarily the couple I wanted, if I had seen this journey between two characters I care about as opposed to one character. I care about longing for something, not having it for the whole season and then suddenly getting it at the end.
Kara: A lot of romance and stuff that we see is usually younger people. It would've been nice to have a more fleshed out, like slightly older couple to see.
Adina: I just, I don't think this show gets [00:31:00] romance. And some of the writers made some kind of disparaging comments about like when people asked about the finale or like, did they ever have plans to get Ted and Rebecca together?
And then they were like, "no, we know that people always expect the male and female lead to get together on tv, but we didn't wanna do that." Which is fine, and I'm not saying the male and female lead should always get together. Obviously not. But one of the reasons that that's a popular thing that people often expect, is because it's much more interesting to see two characters that you've really been invested in get together that's more emotionally satisfying to get invested in than someone you who literally doesn't even have a name.
Kara: I also would say that because of all of the ways that Ted and Rebecca paralleled each other throughout the rest of the show, It did make a little bit of sense to potentially think that they might get together at the end.
Adina: I wouldn't say I really wanted them to get together as of the first two seasons, but I was kind of rooting for it in season three, just out of the sense of I didn't feel like anything interesting was happening with either of them.
So I hoped that that was being set [00:32:00] up to be something kind of interesting, but then it wasn't.
Speaking of relationships though, let's talk about another way that they majorly dropped the ball in season three, which is: what the fuck was happening with Roy and Keeley and Jamie.
I will start by saying Jamie did have a good arc in season three, because he, he is actually the one character that I feel like had the most clear arc from season one, season two, season three .
Kara: I've gone on record saying I've been a Jamie girl from the beginning. So yeah, I was happy for him except in the last episode when he was acting like a little
bitch.
Adina: He clearly had stuff to work on the whole time. Mm-hmm. He was super obnoxious in season one and then he ends that season by like having some potential to change. Season two, he comes in still a little bit obnoxious, but like a little defensive because like he got kicked off that other team and he was on a reality show and so he kind of has something to prove now and other people are mad at him. And then it's about him kind of opening up and, you know, confronting his dad and getting on good terms with Roy and being okay with the fact that he's not with Keely anymore.
And then season three we get to see him kind of really come [00:33:00] into his own and he learns about dedication and he learns about being a good leader for the team and being a good friend to Roy and putting their stuff behind them and continuing to be respectful of Keely given their past relationships.
So he really had a complete arc, but Roy? I literally don't understand what happened with Roy. 'cause obviously he and Keely were together in season two. I think their relationship was pretty popular. I think most viewers seemed to really enjoy it. But at the end of the season, they do break up and they had a kind of valid reason, or no, sorry, they didn't actually break up yet.
They got into a fight at the end of the season because Keely I think wanted to go on vacation or she said that like Roy was kind of smothering her.
Kara: Oh, Roy bought her tickets for a vacation. Oh right. And she's like, I have to work. And this is when I turned to Adina and said he should take Jamie instead.
Adina: And then I was honestly very confused when we cut to season three. I was like, are they already broken up or are they about to break up? And then they like sat Phoebe down and apparently I was just looking at recaps to try [00:34:00] and refresh my memory.
And I'm not a hundred percent sure if this is accurate, but the recap said Roy dumped Keeley because he didn't want to hold her back. Which feels weird to me because I would've expected that she would've ended the relationship based on how season two went.
Kara: I'm not really sure. I feel like something got lost in translation with the little time Skip or whatever.
Adina: Exactly. But anyway, that's a somewhat valid reason to end a relationship. And so I was thinking that maybe they were gonna have them spend some time apart and get back together, which I, I would've been fine with. I wasn't super invested in it either way.
But so then, but they did a weird thing where Roy's kind of alone and mopey, Keely's working on her business and pretty satisfied. And then at the very last episode, they have Jamie and Roy, which they had both kind of, they'd shown some interest in Keely and I think Roy and Keely hooked up once and I thought that was them getting back together.
But then it was like, no. They're just hooking up, which is fine. But then in the last episode, Roy and Jamie decide to just show [00:35:00] up at Keeley's apartment and be like, we both love you. Pick one of us. Which is stupid and does deserve a response where she throws them out. But, so a lot of people were applauding that like, yes, girl, Keely doesn't have to choose, but that's not, that's not original.
It's not a satisfying ending when it's not like they both had been entitled to her all season. And that was a triumphant moment. Like Jamie had been being respectful and kind of keeping his distance and Roy had been moping around, but then kind of being a little pathetic towards her, but like refusing to actually voice it. And so it felt like a lack of resolution for no other reason than like, I don't know, to maybe keep it open for spinoffs.
Kara: My thing that really got me is that they did all of this great work with Jamie just for like a huge regression right at the end. That kind of pissed me off because like the whole, one of the reasons that Roy and Jamie start getting into a fight about who they're gonna, who's Keely gonna pick, is because Jamie brings up the [00:36:00] fact that her nudes that leaked were, was a video that she was sent to him.
Adina: After he had had a really respectful conversation with Keely about how, oh, I'm sorry this happened. I've deleted them now. Yeah, it was a regression for him. And meanwhile for Roy, the writers also in interviews said like, "Roy has things to work on. He can't be with Keely yet". And I'm like, okay. But then what was he doing for all of season three? Also, I'm unclear about what he actually had to work on. He was a little bit mopey ...
Kara: and he needed therapy.
Adina: Yeah, but I didn't see him doing any actual work. I there, no, you ask me, what does Roy have to fix inside of himself? And I'm like, I don't know. He's a little grumpy. He's a little mopey, but he's a pretty good person. I can't really point to what's the issue?
Roy was already kind of a complete character from season one.
He like didn't, there was nothing really wrong with him after season one.
Kara: Yeah. I think it was more so just him grappling with the fact that he couldn't play football anymore. But he figured that out.
Adina: But like, he realized he couldn't play anymore in season one and then it was just, what am I [00:37:00] gonna do now? And he tried out a couple things and then he was coaching for Richmond, but then that's it. That's done.
Kara: The other thing that kind of made me annoyed is that they had this really good friendship going with Roy Keeley and Jamie, like they all kind of like figured their shit out.
Adina: I wish they would've not done it at all, or I wish they would've had Keely take both of their hands and been like, "boys, I think we can work this all out".
Kara: I feel like I deluded myself into thinking that was going to happen specifically
Adina: if there was ever a time for a TV show to do an OT3...
Kara: Specifically because they went to go visit Jamie's mom. And they went to Jamie's childhood bedroom that has both a poster of Roy and a poster of Keely. I was like, obviously he likes both of them. Isn't that what that means?
Adina: Yeah. And Roy and Jamie spent the whole season really becoming buds and becoming close with each other. I was like, this is the moment for all three of you to get together.
So yeah, that seemed bizarre and out of place for both of the men.
And then Keely, as we've talked about [00:38:00] before, Keely has never really had anything to do on this show. They've never known what to do with her. She very clearly only exists because they needed another woman for men to be interested in. Not just Jamie and Roy. Like honestly, I would be fine with that love triangle. . But as soon as we got to the point in season two where Nate tried to kiss Keely because which I wanna be clear, this was presented as a bad choice in the show. The show wasn't trying to say that Nate should be with Keely or that it was a good idea, but what that moment said to me was, oh, Keely exists on this show to be the person that men can want. And it can either be deemed a good thing or a bad thing. They either earn her or they don't earn her. Like that's basically why she exists on the show.
You can tell they're trying to have something for her to do with all this girl boss shit, but girl boss is like a meme because if there's no actual substance to it, it means nothing. She starts her own like PR firm, which is kind of interesting, but she doesn't encounter that many meaningful challenges along the way.
There was one episode in season four, [00:39:00] sorry, season three, that I actually thought was the most meaningful character conflict for Keely so far.
It was Shandy. It was the first actual genuine conflict for Keely where there was not one clear, obvious right answer of what she should obviously do. 'cause she hires her friend, her old modeling friend, who seems to kind of have potential and some, some good instincts for PR. But then once she hires her, she starts to realize Shandy's not very professional, and Shandy doesn't listen to what Keely says as her superior. And she starts making some really bad decisions and not consulting Keely.
So then she's in the position where she has to either continue to entertain her friend or fire her and lose the friendship. And eventually she does come to that like, yes, that is the right decision, but you can understand why someone would be conflicted there, right? Literally no other choice Keely has had to make in this show has there been any sort of like, Ooh, would you do this or that? In her business, she instantly gets funding from this venture capitalist named Jack, played by Jodi Balfour. And [00:40:00] she then enters into a relationship with Jack. They hook up, they're kind of attracted. They have a nice little fling. It was very fun. And I wanna say. As soon as they announced Jodi Balfour was gonna be in the show, I'm on the record. Kara knows this. They announced it like a year before season three came out, and I said, "wow, I really hope she's gonna be a girlfriend for Keely." Happened. I felt vindicated, but the relationship was so utterly pointless. And so weirdly executed. First of all, Keely had no qualms seemingly about getting into a relationship with her major investor, which,
Kara: which actually that does make sense because she,
Adina: because she also had no qualms about Rebecca and so
Kara: Rebecca and Sam. Yep. Mm-hmm. No one had any issue with it. No one asked any questions.
Adina: I'm not saying that people can't get into a relationships with people they work with, but the fact that Keely, like a PR person seems to have no hesitations or doubts about like the power dynamics of that? And then they had an episode where, like Rebecca was saying it was a little sussy, but not really because Jack was Keely's investor, but just because she was like "love bombing" her and like [00:41:00] taking her on big, expensive trips. So that was odd.
And then the very next episode after that, Jack is very obviously evil. They decided to have this storyline where Keeley's nudes get leaked. And all of the men, every single man on the football team learns a great lesson about respecting women and not, not keeping nudes. And none of them have any argument about this, but you know, who's the person who has the most issue with nudes existing is Jack. Is a woman. The woman is the biggest misogynist on this show. And like, yes her perspective makes a little sense. She was like, "I've invested in your company. Now these pictures have got out and it doesn't look serious". She like sweeps it under the rug. She like, gets her resources to like try and cover it up. And she's like kind of ashamed of her. And then Keely dumps her as she should again, as she should. But I was like, that's not a hard decision. It's a sad thing that it happened, but that's not a challenging decision she had to make. The fact that she dated her investor and it wasn't really an issue until just the investor turned out to be an [00:42:00] unequivocal asshole.
And then she loses her funding because she dumps Jack, that seems like a real conflict. Five minutes later Rebecca says, I'll fund your company. Her rich best friend.
Kara: So she didn't have to do anything.
Adina: Literally nothing of consequence. I'm sure some people are listening right now and thinking like, Ugh, like we're being really critical. But like Keeley's still fun. It's still good she's on the show. I'm not saying it would be better without her. The only reason she's fun at all is because Juno Temple's giving her all to just try and be a fun presence. And she's a great actor, but Keeley never does a blessed thing. Because the writers are not giving her the chance.
Kara: And it's very frustrating because there's a lot, there's so too much stuff now that has like women that actually have a purpose. To then sit and watch this and not side eye it a bit.
Adina: Obviously not every TV show has to have a perfectly balanced cast. There are reasons to have TV shows that are more dominated by one gender, and like it's about a men's soccer team. So to an extent that's inevitable. But it, [00:43:00] it irks me that they gave so much more time to developing all of the random ass players while Rebecca and Keely were kind of floundering.
Kara: It's frustrating because they have been billed as leads since the beginning. Yeah.
Adina: The other thing is you could also feel how this season, how the writers were very much like, "oh no. People realized we don't have any gay people on this show in two seasons, and we're supposed to be like a progressive and positive show, and every show is supposed to have at least one gay person now. So here's two." Three, I guess if you count Trent.
Kara: Oh, I thought you were talking about Trent when you said here's two.
Adina: I was thinking Colin and Keely. Again, nice that they did it, but like so much of like, oh, it's happening suddenly in the last season, as opposed to, we actually conceived the characters this way and it was really a part of their character.
Neither of those were actually, were badly executed. I thought they were both fine and well done. I'm not trying to say like they shouldn't have added queer characters in season three, but it's smacks of," we'll get points if we do this." [00:44:00] You know?
That's, that's the issue with Keely.
All the other players. They had so many scenes in season three that were like five minute long scenes of just the players talking in the locker room. There were some funny lines here and there. But they were also exhausting. They dragged on so long.
Kara: This is an example of seeing a dynamic and trying to write to it, but to its detriment in a way. Because I think that some of the fun moments we get of the players kind of just come from the actors and their chemistry, but the, all of the bits that were like written felt a
Adina: little
Kara: off.
Adina: The scripted bits in the locker room were so stilted.
They used to have moments where like one player would get one quip when Ted was talking to the team. And it would be funny, but so many scenes this season where everybody is standing around the locker room and talking about an issue and 10 players will all say a different funny thing about it. And that felt so artificial.
I think a lot of people pointed out the scene where all of the players [00:45:00] talk about nudes after Keeley's nudes get leaked. To see like 15 men, professional athletes, together, all talking with pure sweetness and innocence about "how could nudes be harmful. Oh, I didn't know. I'll definitely delete all of my nudes." It felt so artificial.
Kara: It was giving afterschool special.
Adina: I'm looking over our notes. We've covered all the major characters. I do realize we didn't note down or have anything big to say about Nate, who arguably does have a big arc, but I don't think there's very much to say about Nate other than I understand the shape of his arc narratively, and I'm not mad that it was there, but so many moments of the execution of it made me like, I'm not interested in watching this. It's just unappealing to watch.
The way he was pursuing Jade was kind of weird and I was like, I don't, again, they don't know how to write women. They really don't know how to write women. I was like, are they just two very socially awkward people that don't know how to talk to each other? But then as soon as they got together, she kind of had a totally different personality.
Kara: I think I would've liked it more if [00:46:00] she just stayed socially awkward.
Adina: If she was just weird. Yeah.
Kara: Like, like that's okay. Like women are weird. Women can be weird too.
Adina: But again, like, she didn't exist to be a character. She existed to be something for Nate to earn. He didn't earn her when he was being a jerk. But then he did something sweet and he earned her and then she was giving him all of these correct and obvious suggestions about what he should do in his life. When she had just met him and been with him for like two weeks, that;s not how women work. Women are people.
Kara: It was like, pretty bad. It's a little maddening because I know there were women in that writer's room. But I guess they weren't like the bigger executives, so, and so that's, that makes me a little sad 'cause it's like, I know this room had women in it. I kind of wanna know what went down in there.
Adina: I really wonder what that writer's room felt like in season three. 'cause season one and two, even though there, there were occasional things I disagree with. They were, they were well-written tv, they hung together, they made sense. I got why the choices were made even if I didn't agree with all of them. [00:47:00] But season three, there are so many things that I'm just baffled. I'm like, how did a group of writers sit together and be like, yep, this is our best idea. No, no comments, no cuts. That's it. Like it's just bizarre. It's bizarre to me. And so, yeah, like the ending, with the finale, a lot of people were praising it. Whereas Kara and I, we watched it together and we were, we were like shouting and complaining for most of it.
Kara: You know, the emoji that looks confused and it's like the two fingers holding the chin, that was me the entire episode. And then it was over and we just kind of sat there for a second, we started talking about it.
Adina: the things that it did well, I think are the things that were very obvious and they had planned the whole time. And then everything else, I'm like, that was kind of okay. But like, was this really the best way to end it?
Kara: To its detriment, it felt like they were trying to set up a bunch of spinoffs. Which I think would be really unnecessary. Like, I don't necessarily think we need them, but you know, I'm not in charge, so I don't get a say.
Adina: and then there's that weird scene where [00:48:00] like, Ted comes home and we see him and Michelle sitting at Henry's soccer game and Dr. Jake is not there. Which is intentionally ambiguous on the part of the writers, but I wonder why, because the whole season was about Ted trying to be okay with the fact that she had moved on. So why would you then give us a scene that's like, oh, "maybe he is out of the picture and maybe something would happen."
Kara: It didn't make sense to me, but I just assumed that they were co-parenting because that's what you have to do when you're divorced.
Adina: I assumed too, but then again, there was one of the writers said in an interview that like, they didn't mean to say that they were gonna get back together, but they made it intentionally ambiguous. They purposefully didn't put Dr. Jake there. I'm like, why? You literally spent the whole final season being like Ted had to get over that. What?
Kara: Very strange decisions. And then like Nate comes back to Richmond, which didn't completely feel earned to me yet.
Adina: They made a big deal about the players being angry and [00:49:00] then had the players forgive him and try and bring him back first. And then they thought Ted would be the angriest, which was bizarre to me 'cause it was backwards earlier in the season,
Kara: but it was also like, Ted was leaving, so he didn't have much to say about it anyway. It made sense for Beard to stay.
Adina: I generally like how they wrote the final game. Like they found some really good beats for like the characters to rise up and whatnot. And for Rupert to embarrass himself. That was good. But that was kind of, again, like, I liked that, but that was kind of the bare minimum assignment.
Like it's a sports show, you're gonna have a good final game. Was like, there was, there was
Kara: also a whole moment, like the episode before the finale, I think where Rebecca teamed up Oh yeah. Was about to team up with like Rupert's former secretary and his, () yeah. What was the point of that? His current wife and nothing came of it.
Adina: To me it suggested that they were gonna try and bring him down or something. Was there like a news article in the beginning of the finale about like Rupert?
I understand it's an easy shorthand, but I wish that... It frustrates me how the show insists [00:50:00] on not being about romance, but also consistently uses romance, or like a good women loving men as an indicator that those men are good and men treating women badly as an indicator that those men are bad. Yes, like, Rupert treating women shittily is a reflection that he's a bad person, but it's not the only way that he's a bad person and it feels kind of lazy.
Kara: Yeah. And you like see shades of that. Like the way he treats Nate is not very nice.
Adina: Yeah. And also the way that he treated Rebecca, which we got a lot of, and it was, I like that we got more backstory about that in season three, but that's very different than just, oh, he's cheating on his new wife with his assistant.
That's just like, that's like fill-in sleaze behavior. And he also encouraged Nate to cheat on his girlfriend and that was the final straw for Nate. not being treated terribly himself and not all the other shit. But it was, it was that Rupert wanted him to cheat on Jade.
Kara: So I think that we have come to the conclusion that we don't want these writers anywhere near any romance in the future.
Adina: Yeah. And that's not to say that the friendships aren't [00:51:00] valuable. I feel like whenever I would talk to people about this and like ask their opinions 'cause I was just curious, I was always curious to hear what people thought about Ted and Rebecca. 'cause I feel like some people felt very strongly one way or the other, but a lot of people would be like, no, they're such good friends. I love seeing a show about friendship and I agree with that. I do think friendship's very important. I think it's well represented on a lot of TV shows and I think it's well represented on this show already, irrespective of the main characters also having romance. I think there's an abundance of friendship in this show, so I, I understand wanting to place value on that, but it is not mutually exclusive.
Kara: I agree. And I think that there are other clear examples of like, friendships on this show between like women and men that are more clearly platonic. I don't think that in this time we are starved. For friendships between men and women on TV.
Adina: When people use that as an argument, it baffles me. 'cause I'm like, there, there is plenty of that
Kara: because there's really not that much romance.
Adina: There is romance, but for every, every show that has a romance [00:52:00] or I, most sitcoms at least I, I won't talk about dramas, but like most sitcoms, even if they have main characters that they have, like a man and woman or multiple men and women that have romances among the main characters, they also have plenty of friendship.
Kara: So I don't think that that's a necessarily a good talking point to use in the sense in this case because I do, I do agree, I like Ted and Rebecca's friendship, but I do think that there was setup that they started that wasn't followed through on, which is my main thing that bothers me.
Adina: And it felt like if you didn't want them to be together. I would say don't set up the setup first of all. There was some teasing in season one and season two between like teasing that they were messaging on banter, having their very parallel arcs. There's that episode where they go away in season one where like they kind of have a romantic moment when Rebecca comes and comforts Ted after his panic attack, but then he sleeps with Sassy.
Like if you want us to not ship your main man and woman together, Just write it in such a way that doesn't make people wanna do it. There are plenty of [00:53:00] sitcoms that have a man and a woman at the lead, and I, I'm sure there are some people out there that ship it, but I would say it's not very popular.
Take 30 Rock. Liz and Jack Take Parks and Rec, you know deley and Ron take mythic Quest. Poppy and I like, there are several shows out there that do it because what they do is they just write the dynamic in such a way that it doesn't make you want it
Kara: I think I would've cared less about it from a story perspective had they given me better romantic options for either of them. Exactly. Exactly. If they were going to just keep them friends. Yeah. Because Rebecca's honestly, Rebecca's whole thing is that she wants to find love again.
Adina: And Ted's whole thing was moving on from his marriage, which does not have to mean finding love. But it's if you're not giving us another clear reason.
Kara: And they also did that, that bait thing at the beginning of the last episode. My God, that pissed me so much. Where Ted comes in and then Ted comes in and like, he clearly slept over at Rebecca's, and you're like, oh my God.
[00:54:00] Did they? But then they like didn't, so.
Adina: which would be a funny joke if they had made it a running joke about how they were definitely not gonna get together the whole show. Like if that happened with Liz Lemon and Jack Donaghy, you would laugh at it because they've already talked so much about how they, they are weirdly close with each other, but they're obviously not romantic. And they had plenty of jokes about people mistaking them for a couple, and they would be like, Jack would be like, Ew, of course not. But with Ted and Rebecca, they had never, they had never talked about that. It had never been addressed. So it felt like a possibility, right?
Kara: I'm not gonna say it's gonna bother me for the rest of time because I don't think I cared enough about the show to begin with. But like if someone brings it up, it will start to irk me a little.
Adina: Yeah, I agree. What irks me the most in TV is when something feels like it could have been better or it was good and then it got mediocre.
That's what bugs me the most when it feels like there was no reason for this to get worse. I will say I, this show doesn't deserve to earn any more Emmys. If Abbott Elementary doesn't win best comedy, I'm gonna be furious.
Kara: That would be very annoying. Yeah. I think that everyone did good [00:55:00] work with what they were given.
Adina: So I guess we'll wrap it up there. I'm sure that what we said, probably some people disagree with. I apologize if we've like ruined Ted Lasso for any of you guys, hopefully you still can enjoy, there's a lot of enjoyable things about it. And if you really disagree with us, if you think we really got an unfair take on any of these stories or we really weren't giving the show enough credit on some of these regards, let us know. You know, we love to hear different people's opinions on it and, but I'm glad, I'm glad the show's over and I'm glad that I don't have to like, still have opinion about it.
Kara: Is the show over because they keep acting like it's not. If another season came, I probably would not tune in. I don't think that this needed to go on for longer and I'm not necessarily interested in any spinoffs of it either.
I think that it would be interesting to see what the rest of the cast does next because that to me would be more interesting watching them in something else than watching more Ted [00:56:00] Lasso.
Adina: And so, yeah, I guess our takeaways from this: streaming can be good. Streaming can also have some unintended consequences.
The value of a sitcom being a sitcom should not be missed. There's a real value to having half hour episodes and stories that are broken up into smaller pieces, even if you do have an ongoing character arc.
Kara: I think that there are reasons that you should break structure. But structure does exist for a reason and I think that Ted Lasso benefited and was at its best when it actually followed structure.
Adina: I agree. I agree.
Kara: Thanks for listening. We wanna hear from you now. If you have any thoughts about Ted Lasso you'd like to share with us or suggestions for shows we should watch, you can email us at itsinmyqueuepod@gmail.com
Adina: and we're gonna be back for you soon with some classic episodes covering TV pilots. [00:57:00] Going back to some broadcast shows like we talked about. So if you want updates or if you want TV news, you should subscribe to our newsletter at itsinmyqueue.substack.com, so you can get news on the strikes and also info when our next episodes will be coming out.
Kara: And if you liked what you heard, please rate, review, subscribe, and tell your friends to listen.
You can also follow us on Twitter and Instagram @inmyqueuepod or on our personal Twitters.
Adina: I am @adinaterrific.
Kara: And I'm @karaaa_powell. Thanks for listening, and we hope we've helped you clear out your Queue.