Jason Sudeikis/Olivia Wilde/Harry Styles timeline finally explained! perezhilton.com/jason-sudeikis-olivia-wilde-breakup-true-timeline-gq/
This is an excellent profile in @gq about Jason Sudeikis. Did he have the "same pandemic year as everyone else"? Likely not. But it's still a great insight into his mind, his former relationship with Olivia Wilde and one hell of an ad for Ted Lasso. www.google.com/amp/s/www.gq.com/story/jason-sudeikis-august-cover-profile/amp
"I'll have a better understanding of why in a year," he said of their public split, "and an even better one in two, and an even greater one in five, and it'll go from being, you know, a book of my life to becoming a chapter to a paragraph to a line to a word to a doodle."
Sudeikis continued to confirm that he and Wilde — who share two children and were engaged — separated in November 2020. Rumors of the couple's split began to make headlines in January after pictures of Wilde holding hands with musician Harry Styles surfaced online.
Since then, Wilde and Styles have continued to be spotted together. In July, Page Six published pictures of the pair kissing on a yacht in Italy. According to People magazine, Styles met Wilde on the set of her second directorial effort, "Don't Worry Darling."
"That's an experience that you either learn from or make excuses about," Sudeikis told the magazine. "You take some responsibility for it, hold yourself accountable for what you do, but then also endeavor to learn something beyond the obvious from it."
At the time, a source close to the couple told People that the split had "been amicable" and that Wilde and Sudeikis had "transitioned into a great co-parenting routine."
"The children are the priority and the heart of the family's relationship," the source said.
Later during his interview with GQ, Sudeikis explained his casual attire at the 2020 Golden Gloves. On the night, Sudeikis won Best Actor in a Television Series Musical or Comedy and he accepted his award viain a tie-dyed hoodie.
Images of Sudeikis were promptly turned into memes with people joking that his attire was due to the stress of his public divorce.
"I was neither high nor heartbroken," Sudeikis said of his look on the night. He continued to say that he had called into the ceremony late at night from London where he was shooting "Ted Lasso" season two. And he simply didn't feel like wearing a suit.
"I wore that hoodie because I didn't wanna f---ing wear the f---ing top half of a Tom Ford suit," he said. "I love Tom Ford suits. But it felt weird as s---."
He added: "It was like, 'This is how I feel. I believe in moving forward.'"
Read full article at Good Morning America
14 July, 2021 - 08:36pm
Updated 9:56 AM ET, Wed July 14, 2021
14 July, 2021 - 08:36pm
14 July, 2021 - 08:36pm
14 July, 2021 - 08:36pm
14 July, 2021 - 08:36pm
14 July, 2021 - 08:36pm
"Ted Lasso" star Jason Sudeikis is breaking his silence on his split from Olivia Wilde. The two were engaged for seven years and have two children.
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People first reported the split Friday, citing an unnamed source close to the couple who said two parted ways at the start of 2020. Wochit
Jason Sudeikis is breaking his silence on his split from Olivia Wilde.
The "Ted Lasso" actor, who on Tuesday nabbed an Emmy nomination for lead actor in a comedy for his role on the Apple+ show, opened up publicly for the first time about not having total clarity yet about their split, which he said happened in November 2020 in a GQ interview published Tuesday.
“I'll have a better understanding of why in a year,” he said, “and an even better one in two, and an even greater one in five, and it'll go from being, you know, a book of my life to becoming a chapter to a paragraph to a line to a word to a doodle.”
He continued: "That's an experience that you either learn from or make excuses about. You take some responsibility for it, hold yourself accountable for what you do, but then also endeavor to learn something beyond the obvious from it.”
Last November, multiple news outlets reported that Wilde and Sudeikis had ended their relationship after they began dating in 2011. They were engaged for seven years and have two children, son Otis, 7, and daughter Daisy, 4.
Soon after, Wilde sparked romance rumors with singer Harry Styles after the two were spotted holding hands and kissing on several occasions. Earlier this year, Styles filmed the upcoming psychological thriller "Don't Worry, Darling," opposite Florence Pugh, Chris Pine, KiKi Layne, Gemma Chan and Nick Kroll, which Wilde is directing. Styles' and Wilde's representatives have not responded to USA TODAY's requests for comment regarding the nature of their relationship.
Sudeikis told GQ that he and Wilde no longer share the home they owned together in Brooklyn. It was being renovated while he filmed the first season of "Ted Lasso," so Wilde and their kids "had to rent a lovely apartment in Brooklyn Heights," he said.
"But it's not home. It's someone else's home," he added, noting he and the kids returned to the house for the first time in two years recently.
“The kids darted in,” he said. “Last time Daisy was in that house, she slept in a crib. So now she has a new big bed. It was hilarious. I walked up there after like 15 minutes and both rooms were a mess.”
Ultimately, Sudeikis sees this past year as a difficult one for his personal life, but is choosing to focus on the positives.
“I think if you have the opportunity to hit a rock bottom, however you define that, you can become 412 bones or you can land like an Avenger. I personally have chosen to land like an Avenger," he said, referencing double the amount of bones in the human body – presumably meaning the worst-case scenario would be breaking each bone in two.
"It doesn't mean when you blast back up you're not going to run into a bunch of (expletive) and have to, you know, fight things to get back to the heights that you were at, but I'd take that over 412 bones anytime.”
He added: “But there is power in creating 412 bones! Because we all know that a bone, up to a certain age, when it heals, it heals stronger. So, I mean, it's not to knock anybody that doesn't land like an Avenger. Because there's strength in that too.”
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14 July, 2021 - 01:09pm
The Apple TV+ surprise hit keeps its heartwarming win streak alive in its sophomore outing
“Do you believe in ghosts, Ted?” Ted Lasso’s boss, Rebecca, asks him in the first episode of Apple TV+’s Ted Lasso. “I do,” Ted replies, “but more importantly, I think they need to believe in themselves.”
Rebecca (Hannah Waddingham) has hired Ted (Jason Sudeikis) — a second-tier American college football coach with no soccer experience — to coach her Premier League club, AFC Richmond, as part of a clandestine plan to sabotage the team and punish its biggest fan, her adulterous ex-husband. She takes Ted’s joke about ghosts as confirmation that she has chosen the right idiot for the job. And in the series of ads for NBC Sports’ Premier League coverage that introduced Ted to the world back in 2013, that’s all he was. But by the time Sudeikis, Scrubs creator Bill Lawrence, and others brought Ted back to star in his own series, he had become a lot more than the yokel Rebecca took him for. He was someone who wanted not only ghosts, but everyone, to believe in themselves — in a way that felt aspirational rather than ridiculous.
It’s unclear if Ted is actually a good coach, at least when it comes to X’s-and-O’s strategy. (His main goal of Season One was just getting selfish star Jamie Tartt, played by Phil Dunster, to make the extra pass on offense.) But he is unequivocally a good man, in a way that made the series Apple’s first word-of-mouth phenomenon.
For the past two decades, television has been defined by its antiheroes — from fictional icons like Don Draper to reality-show staples like Simon Cowell and comedic figures like Larry David. Some of this was a response to the way that TV of the previous century prized likability above all else. But over time, it became a market overcorrection, with shows about morally gray figures feeling just as tired as the ones about nice guys. Tony Soprano liked to ask, “What ever happened to Gary Cooper?”(*) Somehow, our Gary Cooper turned out to be a mustachioed, underqualified soccer coach, with Ted’s fundamental kindness and empathy feeling like a radical choice in this era of TV.
“I believe you can outscore your opponent and still lose,” Ted tells sportswriters, “just like you can score less than them and win.” When coaches talk like that, it’s usually code for some kind of repressed, hypermasculine ideal of a bygone era. But with Ted, it’s about a genuine, radiating desire to help the people around him be their best selves, scoreboard be darned. He is curious about everything and everyone, and polite and caring in ways that Rebecca and the players keep assuming is a put-on, because who could possibly be this friendly all the time? He styles himself like Burt Reynolds without becoming prisoner of the sport’s clichéd macho ethos; at one point in the upcoming second season (debuting July 23rd), he even tells two feuding players to “get together and woman up.” When one asks if he means “man up,” he replies, “Y’all been manning up for a while, and look where that’s got you.”
That first season smartly acknowledged the downsides of pathological decency — Ted’s wife leaves him because she feels smothered by his attentions, and she’s presented sympathetically — but for the most part it was a Jason Sudeikis charm offensive. And bit by bit, Ted brought everyone — Rebecca most of all — to his side. “He thinks he’s mad now?” he says after meeting perpetually surly, past-his-prime midfielder Roy Kent (Brett Goldstein). “Wait’ll we win him over.”
Season One concluded with Richmond suffering relegation — demotion to a lower league as penalty for a poor record — but also with Ted having convinced them all to join Team Nice, determined to win their way back into the EPL. With Rebecca’s scheme abandoned, Season Two seems to open without any strife at all. Roy is retired and Jamie is long gone, and the Richmond players and management are all on the same page. When Ted arrives in Rebecca’s office each morning, she, general manager Higgins (Jeremy Swift), and marketing guru Keeley (Juno Temple) greet him like he’s Norm from Cheers. The players are constantly smiling, and Ted and assistant coaches Beard (Brendan Hunt) and Nate (Nick Mohammed) are so in unison they practically communicate with twin-speak. For a hot minute, it feels as if Sudeikis, Lawrence, and company saw how viewers responded to Ted’s goodness and decided to give them more of what they wanted, the narrative necessity of conflict be gosh-darned. If a comedy where everyone gets along all the time can still be appealing and funny(*), why does anyone ever need to get mad with one another?
But there’s conflict in the new season. It’s just sneakier and even truer to the show’s larger themes than Season One‘s unapologetic rehash of the plot of the 1989 baseball film Major League. Rebecca hires pre-eminent sports psychologist Dr. Sharon Fieldstone (Sarah Niles) to work with the team, and Fieldstone proves both immune to and skeptical of Ted’s relentless schmoozing. She is treated not as a villain, but as someone who can see the title character with a clearer perspective than the co-workers and friends (and, for that matter, viewers) who just want him to make them feel better. When he asks for her assessment of the team after a few days, she notes, “There’s a wonderful atmosphere here. All the employees are thoughtful, and kind. And they actually listen to each other.” But then she adds that the team has yet to win a game this season, and wonders if perhaps there can be too much of a goodness thing in the competitive world of professional sports.
These episodes don’t lean too hard on this tension. For long stretches, it’s easy to luxuriate in the pleasure of seeing people get along, even when they’re trying not to. Roy takes up coaching his adorable niece’s team, and as he’s cursing the little kids out like the legendary hard case he was on the pitch, they can’t help but beam at him. Ted learns how to do girl talk when Keeley’s not available to help Rebecca make a romantic decision, and there’s an utterly charming, blatantly Frank Capra-esque — to the point of Ted watching It’s a Wonderful Life — Christmas episode. But the sentimentality of Capra only worked because he laced his films with plausible darkness and human emotion. While Ted Lasso doesn’t have its characters attempting suicide like poor George Bailey, it remains keenly aware that everyone gravitates to Ted because they need something happy in a world with so much misery to offer. And every so often, we get hints of what this upbeat persona costs both Ted and the team. At one point, Roy suggests that Ted has ruined one of his players by making him too generous and sweet, and the show very much agrees with Roy.
Confronting the fundamental flaws within a vibe that made Ted Lasso — both man and show — so beloved, without ruining that vibe in the process, is an incredibly delicate task. The start of Season Two stumbles occasionally — there’s a conflict with a sponsor that should be a much bigger mess, but instead gets forgotten instantly — but for the most part, the creative team handles this tough new assignment with the kind of aplomb that would merit enthusiastic attaboys from Ted, along with an obscure pop-culture reference from decades past. (After dropping an H.R. Pufnstuf punchline, he adds, “That is a joke for people born in the early- to mid-Seventies!”)
A few months ago, a handful of Europe’s top clubs attempted to form a new “super league” that would forgo relegation, which is both a crucial part of how the sport works in most of the world and a key story point on Ted Lasso. The craven, anti-competitive spirit behind the endeavor inspired so much protest among fans that the super league collapsed within days of its announcement. Once, that would have seemed too Pollyanna-ish a plot twist for real life. But in a world that’s given us Ted Lasso, anything seems possible.
In This Article: Jason Sudeikis
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12 July, 2021 - 08:00am
Jul 12, 2021 9:00 am
The “Ted Lasso” phenomenon has not yet consumed “Ted Lasso.”
Last year, amid anxious efforts to control a raging pandemic and a heated presidential campaign pushing tensions to a tipping point, Apple TV+ politely released a charming sitcom about an American football coach hired to helm a British soccer club. Reviews were solid, but not ecstatic. Fans were invested, but not frenzied. Apple was supportive, but there’s no way anyone at the less-than-a-year-old streamer knew what they had.
Then, little by little, “Ted Lasso” started to sweep the nation. Critics became more vocal. Audiences were more adamant. Apple put on the full-court press (to mix sports metaphors), and wham! Whether you credit the stressful times for amplifying “Ted Lasso” or “Ted Lasso” for being timed just right (and you gotta love that weekly release), the heartfelt sports sitcom was much, much more than that. An awards darling, the start of a cultural swing toward kindness, a way of life: “Ted Lasso” wasn’t just a show anymore. It was a phenomenon.
With such a lofty status come exaggerated expectations for the follow-up, and “Ted Lasso” Season 2 acknowledges the pressure its under by putting its titular coach (played by SAG Award winner Jason Sudeikis) on the spot: His team, AFC Richmond, has been relegated to the EFL Championship division after last year’s season-ending loss, and now they find themselves stuck in a historic streak of ties. (Ted does acknowledge the irony in his predicament, seeing as he routinely forgot ties were even possible during his first season in soccer.) All of this has happened since the new coach came to town, so no matter how many skeptics he’s charmed, the buck has to stop with him. Toss in the lingering pain from his recent divorce as well as a young son living an ocean apart and Ted’s unflagging optimism faces its toughest test yet.
To say much more would venture into spoiler territory, but fans can rest assured of two things: A theme of Season 2, as shared by Sudeikis himself, is that of guardian angels; Ted isn’t in this by himself anymore, and the series finds clever, touching, and genuine ways for its stellar ensemble to come through for each other. The second guarantee is that “Ted Lasso” hasn’t succumbed to any easy temptations; it still embodies its coach in being sweeter than it should be able to get away with and smarter than you’d expect, given its unassuming nature. “Ted Lasso” hasn’t been changed by its success, aside from a few guilt-free indulgences.
Sarah Niles and Jeremy Swift in “Ted Lasso”
One change viewers will notice straight off is that everyone looks a bit more polished. Nate (Nick Mohammed) has a tighter haircut. Rebecca (Hannah Waddingham) dons even more exquisite suits. Even Higgins (Jeremy Swift) got a wardrobe upgrade. While far from the extreme between-seasons shifts seen among, say, the “Friends” cast, nitpickers would note these characters should probably look worse. After all, they’re in a less prestigious division, and, aside from Nate, no one has merited a raise. Similarly superficial quibbles pop up here and there, but for the most part, showrunner Bill Lawrence and co-creators/executive producers Brendan Hunt, Joe Kelly, and Sudeikis make routinely excellent decisions in progressing their story.
Season 2 offers an episode themed around iconic romantic comedies. The premiere proudly incorporates a “Magnolia” motif. There’s even a (spectacular) “Ted Lasso” holiday episode, as if the show sans Christmas cheer wasn’t warm and fuzzy enough. Somehow, they balance the overwhelming goodwill beautifully, bucking expectations along the way, which brings us to the new episodes’ most impressive feat: They don’t lean too hard on past successes, nor do they steer too far into darker, more dramatic territory. A few fan favorite jokes make their into the premiere — Dani Rojas’ “football is life” gets played up, and the entire press room says “The Independent” before Trent Crimm can — but these little nods to the past don’t dictate the present narrative.
On the other end of the spectrum, “Ted Lasso” avoids going too dark. Given Ted’s panic attack late in Season 1 and aforementioned stress in Season 2, it must have been tempting to base a full season around an emotional implosion; to watch as Ted struggled to be positive, given everything going on; to steer “Ted Lasso” toward dramedy territory for the contrast, for the awards, for the easy prestige grab it would’ve been. (After all, some folks originally complained Season 1 wasn’t funny enough to be a comedy anyway.) Instead, Season 2 finds a more honest way to address the coach’s human hardships (involving the arrival of Sarah Niles’ sports psychologist), without shying away from his endless, sparkling analogies and outright hilarious enthusiasm.
“Ted Lasso” still feels like “Ted Lasso,” and while there will be a lot more to say about the season once everyone has seen it, for now, that’s an incredible relief — and an impressive triumph.
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