"That's me, I'm emotional"
About this Quote
Three words and a shrug, but it lands like a mini-manifesto in a culture that still treats male athletes like emotionless hardware. "That's me, I'm emotional" is Wells doing something rare in sports talk: refusing the performance of chill. The "That's me" works as a preemptive disarm. He's not asking permission, not offering an apology, not outsourcing blame to "competitiveness" or "the moment". He's claiming a trait that, in locker-room mythology, is supposed to be either a weakness or a headline.
The line also has a defensive edge, the way a player answers when he knows the cameras want a story. It's confession as shield: if you name the thing first, no one gets to weaponize it later. In that sense, the quote is less vulnerable than it sounds. It's a controlled leak, a way to steer the narrative from "unstable" to "human."
Context matters because Wells comes from an era when athletes were expected to be stoic professionals, save their feelings for the post-career memoir. Yet sports have always been a public stage for private emotion: anger framed as intensity, tears rebranded as passion, grief edited into a montage. Wells collapses the euphemisms. He doesn't romanticize it; he normalizes it.
What makes the line work is its bluntness. No metaphor, no speechwriter polish, just the plain admission that performance and feeling aren't opposites. They're often the same fuel.
The line also has a defensive edge, the way a player answers when he knows the cameras want a story. It's confession as shield: if you name the thing first, no one gets to weaponize it later. In that sense, the quote is less vulnerable than it sounds. It's a controlled leak, a way to steer the narrative from "unstable" to "human."
Context matters because Wells comes from an era when athletes were expected to be stoic professionals, save their feelings for the post-career memoir. Yet sports have always been a public stage for private emotion: anger framed as intensity, tears rebranded as passion, grief edited into a montage. Wells collapses the euphemisms. He doesn't romanticize it; he normalizes it.
What makes the line work is its bluntness. No metaphor, no speechwriter polish, just the plain admission that performance and feeling aren't opposites. They're often the same fuel.
Quote Details
| Topic | One-Liners |
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