“Ted Lasso”s rise in the Twitter-era has hit a brick wall in criticism, with folks on one side promoting pop culture’s need for positive, kind “content,” television and films alike, and the other raising eyebrows at the notion that “content” must necessarily mold itself to make audiences feel good.
The trouble is that if “content” is expected to accommodate a specific dichotomy, and if “content” then violates that “dichotomy,” fan-writers revolt against it (not to mention the calamitous ill of viewing pop art as sugar-dense sludge to be consumed through a streaming IV).
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