'I Don't Want To Sound Woo Woo': Ted Lasso's Brett Goldstein Drops An F-Bomb While Explaining Why He Warmed Up To The Idea Of Making Season 4
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About two years after Ted Lasso's Season 3 finale and the presumed ending of the Apple TV+ comedy, it was announced that the series will indeed be returning. It's unknown when, and we don't know who will be part of it yet, but the fact that Season 4 is actually happening is cause for celebration. For a while, it was hard to tell if another season was possible, but luckily, fans won't have to wonder any longer. Now, Roy Kent himself, Brett Goldstein, is revealing why he eventually warmed up to doing another season, and his explanation obviously included an f-bomb.
Not only is Goldstein part of the Ted Lasso cast as Roy Kent, but he is also a writer on the show. So he's part of the team that's making decisions about where this next story will go. Now, while talking about Season 4 of Ted Lasso on Vulture's Good One podcast with Jesse David Fox, the Emmy winner opened up about why he warmed up to the idea of returning to Richmond, saying:
I think it's to do with the people and the characters and the actors. You have this plan, but then this world starts to build in front of you, and you fall in love with things you didn't know you'd fall in love with. I don't want to sound woo woo, but I do mean this. You still have to stay open to the signs. You always have a plan, but the plan will change because someone is different and what everyone brings. So yes, we've stuck to that plan, but there's so many new, wonderful things within it, that it's like, 'Oh, we could [do more]. I think, I don't know, do you want to hang out in that world anymore? And if so, it's only worth doing if you're going to do it as well [as you've done] if not better.'
For a while, it was assumed that Season 3 of Ted Lasso was it, but even though some stories were wrapped up, it was clear that the door wasn't fully closed, and there was potential for a fourth installment or spinoffs. Not only was there still interest within the cast, but fans probably kept their hopes up, too, that something would happen, no matter how much time had passed.
Now, even though not much has been shared about what exactly Ted Lasso Season 4 will consist of, it's clear that there are some exciting ideas churning, and Goldstein dropped an appropriate f-bomb while explaining it:
When the idea is there, if you remain open to it and the idea comes, you're like, 'Oh! That's a good one.' But then you're like, 'Fuck! Maybe there is more.'
Apple TV Plus: 7-Day Free TrialBELIEVE it, people, you can get Apple TV+ for one week for free, which gives you enough time to binge the first three seasons of Ted Lasso. Then, make sure to keep it around for $9.99 per month so you can watch Season 4 whenever it comes out. View Deal
When previously asked about returning for Ted Lasso Season 4, Goldstein used an analogy about a dead cat coming back to life, and it was weirdly fitting. You have to move on, but you still hope and pray that somehow it gets brought back to life because a part of you knows this shouldn't be the end. In the case of the cat, it wasn't dead. And in the case of Ted Lasso, even after saying goodbye, they still returned for another round.
Now, the wait for Season 4 could be a long one, but fans have already been waiting for almost two years for news on a fourth season. So, waiting a little bit longer for it to actually come out shouldn't be too painful. Additionally, more news about the new season is expected to be released as they continue developing it, so hopefully, we'll learn more about the cast and the plot sooner rather than later.
Ted Lasso continues to be one of the best shows on Apple TV+, so it's not surprising that it's finally coming back. It's unknown when it will eventually return, but for now, fans can watch the first three seasons with an Apple TV+ subscription.
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I Heard Jurassic World Dominion Was Bad, But I Would Watch It Over Any Other Jurassic Sequel
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9 hours ago
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Jamie Lee Curtis on Her Big Moment in 'The Bear' Season 4
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By the end of the electric and overwhelming episode, for which Curtis won an Emmy, Donna has drunkenly left the Christmas dinner table and crashed a car into her house, effectively fracturing her relationship with her son. But in Season 4, Donna gets a chance to make amends. About five years after the disastrous holiday, she spends the majority of the ninth episode, 'Tonnato,' sharing her regrets with Carmy inside her home. While looking at old family photos together, Donna admits she's been sober a year and then reads an apology letter, acknowledging the pain she's caused and explaining the reasons for her poor choices. Carmy eventually reciprocates, sharing his guilt for leaving the family and expressing his love for her. It's a powerful, emotional exchange that crystallizes the season's redemptive, healing themes. Then, as an act of reconciliation, Carmy prepares for his mother a chicken dinner that he learned to make while training as a chef at The French Laundry. 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And I said, 'How do you want her hair to look?' And he sent me a picture of Monica Vitti. And then I said, 'What about her nails?' And he sent me a picture of the desperate housewives of New York and that was the entirety of the background that I got from him before I walked in the kitchen the day we shot 'Fishes.' I got a sense that he understood that I was going to show up fully-loaded ready to shoot. That gave me a lot of confidence and a lot of freedom because I knew, having seen the level of intensity, what the show was like. What was your initial impression when you read this scene between Donna and Carmy, and how did you want to approach it? People forget that she hasn't seen Carmen since Christmas five years earlier. It's not like there's a chyron that's under the screen that reminds the audience at the wedding. And obviously she has seen the rest of the family. She attended the birth of her granddaughter. She goes to family birthdays. She sees Lee. She sees Jimmy. So there's an indication that she is a part of this interesting melting pot family, but she hasn't seen Carmen. So that moment when she sees him at the wedding—and the way all his friends come around him and are like, 'Hey, they need you in the kitchen right now.' Donna knows what's going on. She's very smart so she understands that this is a big moment for both of them. And then she has that lovely scene with Sydney and then she gets the f-ck out, because she understands. In recovery, there's a phrase, 'We suit up and show up.' So Donna is suiting up and showing up. And of course who does she run into? Michelle. And Michelle says, 'Are you good?' And we all know that question is Donna's fire starter. Right. That is the fire starter, one of those clicking flame things that we all have in our houses to light matches. It's that click. And her response, which is, 'I'm good.' And then get the f-ck out. I'm not going to play Michelle. I'm going to go. And so we've teed it up beautifully. Yep. I'm sober. I've been sober a long time. I talk to a lot of sober people. Part of being sober is acknowledging the past. There is a process within being a sober alcoholic or sober drug addict that in order to move freely into the future, you have to acknowledge the past. I don't think Donna wanted to acknowledge it with him for a long time. I think she's been working on that for the better part of a year. She's had that little piece of paper in her desk drawer, and when he comes over, I think the intention was to see him and keep it light and polite—another phrase we use in recovery. And I think that was her plan until she started going through the pictures and saw Mikey. Yeah, I wondering if you wrote that letter yourself. It was from the script, but of course I did! Was that a cathartic experience—thinking about what that symbolizes generally for a mother to a son, but then also specifically for Donna to Carmy? Very much cathartic. We both knew what we're doing. The script is beautiful. I learned that having a kid who you don't know how to help is one of the most powerless experiences as a parent. I personally have a child with special needs. I have a child who has a learning difference. And the powerlessness you feel when you can't actually help them—you can find people who can help them, but you can't. So the part of that scene that gets me every time is when she talks about Mike. Because clearly Mike had that problem since he was a little boy. And being a parent and not being able to help your kid and not knowing what to do to help them—and finding that alcohol just made it all more palatable and easy—to play a woman who has struggled with that, and then to have the beautiful writing that articulates that exact powerlessness and turmoil, and resulting shame and self-hatred, and then the addiction on top of it—I just thought it was a beautifully constructed. The line that hits me the hardest throughout your interplay is when you tell Carmy, 'I don't know you, and you don't know me, and I did that.' Was there a line or a moment in this conversation that impacted you the most? Oh yeah—what I just said about Mike. I did that as a statement of fact. I have to live with that. She also says it to Sugar in the hospital when Sugar says, 'You scared me and I don't want my baby to feel scared.' I said, 'I scared you?' Hearing that you have that effect on a human being's life is powerful. And so I can totally accept that we're operating as strangers in this family. That is when she really is showing the pain and suffering of her own childhood, her marriage, her being a mother to three. That is when Carmen really softens and says, 'I'm sorry, I wasn't there for you.' What does Leonard Cohen say? "There has to be cracks because that's where the light comes in." That's the moment when you understand that Carmen is now understanding the multitude of Donna and what she has struggled with. What was it like working with Jeremy that day? I feel very motherly toward all three of these kids. I've stayed a little in contact with them in the most cursory way. I'm not pretending we're buddies, but I also reach out occasionally. So he and I have that. Again, not with any supposition that it's more than it is. He's just a beautiful performer. We use the term scene partner a lot in actor talk, but he's a scene partner. We don't rehearse it. We don't talk about it. We stay away from each other until it begins, and then it begins. And he has beautiful eyes, and they are expressive and soulful and sorrowful and very alive at times and very emotional at times. And I think you see all of that in this whole season, but in that scene in particular. And then the coup de grace, which is him cooking for her. I really love that he goes back to his time at French Laundry where he learned to make roast chicken. Do you feel like a meal is one of the kindest gifts you can give somebody? For sure. I'm not a foodie. I was raised by a very skinny woman. Food was not a friend in a generation of women in her industry who starved themselves under the tutelage of the studio system. My mother was incredibly beautiful and she held it all the way through her life. While many of her other friends succumbed to middle age, she starved it away. So I was raised around cereal and a grilled cheese sandwich, which would be like gold for me. But apparently I make really good penne with butter, garlic salt and a little parmesan cheese and my elder daughter, Annie, was talking with her friends about memories in their high school years of having me make that penne. Hearing that that is a memory for my daughter is something comforting. I'm kind of embarrassed by it because it's not a French Laundry chicken. And yet the act of making it and the act of receiving it as something special is very moving to me. Of course Carmy is going to truss and baste and bake and broil a beautiful chicken for his mother. It's a wordless moment and, needless to say, very moving. It's very clear that there's a path forward through that act that is him basically saying, 'I'm sorry that I didn't kind of meet you, that I stayed away from you and that I didn't face this.' It's pretty powerful to end a series on a full-circle moment. He also tells you not to wash chicken in the sink. Yeah, because, of course! What he's saying is that the salmonella goes all over the place. You think it's just going down the drain, but in fact, you're polluting your sink. This season felt very redemptive and healing in a lot of ways. What it was like to have a moment of reconciliation with Donna, as opposed to playing such a vicious antagonist? I'm the child of alcoholics. I'm a sober drug addict and alcoholic. I have lost so many friends to alcoholism and drug addiction. My baby brother died at 21 of an accidental heroin overdose. We're also living in a world that doesn't feel redemptive. When you talk about an antagonist, it feels like there are antagonists running the world right now. So from a spiritual place, if we're not healing, we're dying. And I didn't know if Donna was going to heal or get a chance to. I saw it in Season 3, but as I said to you, I already knew that Season 4 was coming. I don't know the origin stories necessarily, but if we're not healing, what are we doing? And so I'm beyond grateful that Chris gave everybody a moment of grace—every single person's story! The end of Season 3, Carmen says that in his vision for the restaurant, 'to make it good, you have to filter out the bad.' And I think this whole season was in line with that mission statement. It's just gorgeous work. The grace note at the end—you know those sandwich shops are going to be successful. We know what the numbers are going to be. They're going to blow the place up. But Carmen also knows he has to step away from this and let these people do it. And the fact that that's the gift that he's giving everybody, and that he'll now go figure out who Carmen is. And he'll be able to do it with a mother in his life now. Yeah, and Donna is sober now. Can Donna stay sober? I hope so. I've stayed sober. What was wack to me—the same day that this season of the show dropped, I woke up in the morning and a friend of mine in Los Angeles sent me a picture of a billboard on Sunset Boulevard. It's the Foundation for a Better Life, a program they run called 'Pass It On.' Inspirational people and ideas. And there's a billboard with my picture that says, 'My Bravest Thing? Getting Sober. Recovery. Pass it On.' And for Jamie and Donna, who had different stories but the same disease, to have that happen simultaneously was kind of another grace note. This interview has been condensed and edited for clarity
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10 hours ago
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Lisa Kudrow's ‘The Comeback' is finally coming back
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