"I'm gonna be the best dad that ever lived. I'll have a ranch with a race car track and a golf course"
About this Quote
It reads like a promise, but it lands like a pitch: fatherhood recast as an upgrade package. Jeremy London isn’t vowing patience, steadiness, or the unglamorous competence kids actually register. He’s vowing infrastructure. A ranch. A race car track. A golf course. The list is so cartoonishly aspirational it turns “best dad” into a kind of brand identity, the way celebrity culture often treats private life as something to be produced, curated, and visually proven.
The specific intent is easy to hear: reassurance (to a partner, to an audience, to himself) that he’ll be exceptional, not just adequate. The subtext is more interesting: he imagines fatherhood as a stage where abundance can substitute for presence. The fantasy isn’t only about giving a child joy; it’s about building a world where he’s undeniably the hero, the provider, the cool dad whose love is measurable in acreage and amenities. “I’m gonna” signals performance too: a forward-facing declaration, less confession than manifesto.
Context matters because London comes from a profession that trains people to inhabit roles and chase a version of themselves that reads well on camera. This is dadhood filtered through the actor’s instinct for set design. The ranch and track aren’t just toys; they’re proof-of-concept props for masculinity: freedom, speed, leisure, control. It’s heartfelt, sure, but it also accidentally exposes the anxiety underneath: that being “the best” might require spectacle, because ordinary devotion won’t feel like enough.
The specific intent is easy to hear: reassurance (to a partner, to an audience, to himself) that he’ll be exceptional, not just adequate. The subtext is more interesting: he imagines fatherhood as a stage where abundance can substitute for presence. The fantasy isn’t only about giving a child joy; it’s about building a world where he’s undeniably the hero, the provider, the cool dad whose love is measurable in acreage and amenities. “I’m gonna” signals performance too: a forward-facing declaration, less confession than manifesto.
Context matters because London comes from a profession that trains people to inhabit roles and chase a version of themselves that reads well on camera. This is dadhood filtered through the actor’s instinct for set design. The ranch and track aren’t just toys; they’re proof-of-concept props for masculinity: freedom, speed, leisure, control. It’s heartfelt, sure, but it also accidentally exposes the anxiety underneath: that being “the best” might require spectacle, because ordinary devotion won’t feel like enough.
Quote Details
| Topic | Father |
|---|---|
| Source | Help us find the source |
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