#michelle lasso going by sarah

[chainofclovers]

Ted Lasso 2x7 Thoughts

“Headspace” is a very apt name for this episode, in which we learned almost no new information about the characters in Ted Lasso but learned a great deal about the way many characters’ brains work.

Most of the episodes this season have been so full of new information (if you wanna know something about how my brain works, the critique that early s2 episodes lack conflict does not compute), so full of dramatic irony (Sam and Rebecca don’t realize they’re messaging each other on Bantr! Rebecca’s voicemail to Ted doesn’t actually indicate that she spent a significant portion of time panicking and looking for him!), and misunderstandings that it was really nice to spend a bit over thirty minutes on an episode with very easily mappable plotlines.

Ted and Sharon and Therapy

Ordinarily in my little recaps I talk about the characters as real people making their own decisions, because every character on this show feels very real. But I have to take a minute to just, like, celebrate the acting in these scenes. Sarah Niles and Jason Sudeikis brought the perfect energy to each of their three scenes in Dr. Sharon’s office.

The drinking bird toy! The way he switches from nodding along with it to shaking his head no while the bird continues to shake its head yes, just like Ted shook his head no while saying yes, they should hire a sports psychologist! The way he finally stills the bird in the final therapy scene in the episode...but performatively throws the tissue box.

(Someone is going to need those tissues, Ted. It might be you.)

I also LOVE that this is the first time we see Sharon in an extended scene that takes place in a session. We’ve seen her rapport with the players, we’ve seen the results, and we’ve seen the things she does to make someone feel comfortable at the start of a session, and that’s all the information WE need to know to feel confident in her excellence as a psychologist. But because Ted hasn’t been able to fully appreciate those things, it’s so fitting that his sessions are a time for us to learn more about Sharon’s approach along with him.

It’s just...such good acting. The way she tells him he doesn’t need to worry. The kind of charming (but not performatively charming, just...charming) smile on his face when he claims he knows he doesn’t need to worry. And the way his voice changes a little as the conversations progress—deeper, less controlled, with some very genuine Midwestern “ma’am”s.

Sam and Rebecca and Awkwardness

Sam and Rebecca were so awkward when talking to each other in the hallway! If I had been in that hallway I would have been physically unable to stop myself from doing something even more awkward and diverting to make it stop. (I say this as someone who is neither disgusted by or delighted by the direction of the Bantr storyline. This is a good story about two good people who are in very different places in their lives existing in both a manufactured connection and the real, and very different, connection they have when they aren’t glued to their phones. This story is supposed to be awkward and uncomfortable.)

I did like the parallels of their friends sort of urging them on/coaching them through the inherent panic of the three dots that appear and disappear—a source of panic whether you’re the one creating the dots on the other screen or watching them and feeling at their mercy.

I like that in this episode both Ted and Rebecca are loudly broadcasting “I AM NOT IN THE RIGHT HEADSPACE FOR A ROMANTIC RELATIONSHIP”—Ted with his rueful awareness that Michelle would be upset if she heard him still referring to her as his wife, Rebecca with her insistence that relationships are doomed and awful even though she’s talking to two people (Keeley and Higgins) in committed relationships.

Roy and Keeley and Space

This plot was a really wonderful...counterpoint? complement? to the places both Ted and Rebecca are in as Ted starts to come to terms with the fact that he’s going to have to deal with his past and the losses he’s suffered (including the loss of his marriage) and as Rebecca questions whether she’s really going to embark on the next phase of a relationship with someone whose identity she does not know.

Because Ted and Rebecca are stuck apart, it was great to see Keeley struggle with needing space from Roy without worrying for a second about whether or not this challenge was a threat to their relationship. (Keeley and Roy aren’t used to long haul relationships, so they both see it as a threat, but the audience doesn’t have to.)

There was so much going on in that boot room. I love the coexisting realities there—Rebecca and Keeley and Higgins treating the boot room as their personal room for secret smoking, but as the crowd grows all these other unspoken dynamics emerge (it’s been two days since the panic attack and this is the first time we see Ted and Rebecca in the same room and there’s no evidence that they’ve talked about what happened with the panic attack or Rebecca’s parents or any of the big stuff).

Everything about Keeley’s plotline this episode reminded me of how Ted and Keeley are so similar (and, to a lesser extent, Rebecca and Roy are so similar). Rebecca and Roy both tend to write things off (Rebecca is so certain any relationship she has will be doomed, but it’s just because of how hurt she already is; Roy wanted to convince himself he was happier as a pundit than as a coach, but it’s just because he was scared of how much he wanted to be back on on the pitch), only able to deal with things when a safe person like Ted or Keeley sort of startles growth out of them. (We talk a lot about how Rebecca should be in therapy, but Roy should too.) And Ted and Keeley! Everything’s great, everything’s sunny, but look at how Keeley stands on her couch and screams in sadness and anger when she blows up at Roy and he leaves.

This time, things work out between Roy and Keeley because he figures out what Keeley was trying to communicate and respects what she needs, but in the future she’s going to have to figure out how to articulate herself more clearly. (And so will Ted...not only in therapy with Sharon, but as everything with the other coaches and the team and Will and basically everyone in his life come to light.)

Nate and Beard and Twitter-Insecurity-Rage

Ahhhhhhhhh.

This plotline made me feel almost as nervous for Ted (the things he doesn’t know) and Beard (the things he knows) as it did for Nate and Colin and Will and everyone.

At first I was really bothered by the repetition of Nate checking Twitter. We know! He’s on Twitter a lot now that he’s semi-famous! He’s obsessed! But then it occurred to me that it’s extremely perfect that Nate checking Twitter becomes this silent refrain building him up or tearing him down based on the latest 280-character compliment or take-down. Because this is how the internet works! You get obsessed with something on it and then check it a million times per day until you feel sick. It could be a dating app, or a trending story, or almost anything. If you check it often enough, the internet won’t even have anything truly new for you...it just feels like it does. So the repetition of Nate scrolling Twitter wasn’t meant to deliver us new information, but rather to mimic the old information coming through again and again.

I feel so deeply for Nate, who’s brilliant about football but unfit to coach because the power dynamics of coaching are a totally foreign concept to someone like him, who relies entirely on external inputs to take his actions. Ted and Beard and Roy all go and learn things and bring them back to the pitch, but none of them have had the capacity to teach Nate how to do this. Even Nate’s private thoughts, which he wrote down during s1, only come to light when Ted prompts him. And when your external inputs are coming from social media and an unappreciative father and a hyper-awareness of insult after years spent on the receiving end of bullying...it’s very dangerous. Maybe even literally physically dangerous.

I also feel so deeply for everyone who interacts with Nate right now, particularly Will.

Some Bonus but Never Extraneous Trent Crimm

Trent in the pub made me NERVOUS. Seeing him in this new place where Ted goes to wind down, almost coaching Ted through lying to him about having had food poisoning?! When they both clearly know that isn’t what happened?!?

It felt very fitting that this uncomfortable yet kind-of-mercifully-executed lie takes place towards the end of an episode full of such positive and negative growth for the characters. Such movement. It felt all wrong (in a good way), like covering something new and smooth and precious with spackle because maybe you actually wanna paint something else after all even though it won’t serve you in the long run to do it. To paraphrase Dr. Sharon, the truth will set you free but first it will piss you off, and Ted’s conversation with Trent is a reminder of all the layers there are to cut through on the way to the truth.

If Apple TV could simply release 2x8 - 2x12 this week, I would bargain with something crazy and miserable like giving up caffeine until October 8, the air date for the season finale. I continue to love this season and to feel the serenity of watching excellent actors execute on excellent scripts...but we’re getting to the point where the momentum’s built up and is heading to ever-scarier places, and I neeeeeeeeeed to knoooooooow.

[51kas81]

“It’s something that I’ve worked quite hard at over the years, not to be pigeonholed, for someone to say, ‘Oh that’s him, that’s what he does,’” he says. “It was a really enjoyable character. Ultimately he is the driving force in what’s going on in Adam Price’s life. It’s also a story about a father and son being estranged. I like it when a part develops and grows, and you think it’s one thing and you go, ‘Oh, actually this is going down a very interesting route.’ ”

Head, who will also be seen on Jason Sudeikis’ Apple+ series “Ted Lasso,” is also known for shows such as “Merlin” and “Vanity Fair.” He’s most famous to American TV audiences as Rupert Giles, the Watcher and pseudo-father figure to Buffy Summers (Sarah Michelle Gellar) on cult hit “Buffy the Vampire Slayer” (1997-2003).

[queen-of-lightning-and-fire]

Justice for DC and YA Heroes Panel

Sarah J. Maas = Catwoman (2018) 

Selena's friends are meant to draw her out from her guarded nature and be a teen in the way she wasn't able to before because of who she had to take care of 

Selena is toward the later end of the teen, age spectrum 

It is dual POV (or multi) 

There is a character named Lucas Fox, the son of Lucius Fox 

I KNOW RIGHT LUCAS = LUCIEN, FOX !!!! I HAD THE SAME WTF OH MY GOD MOMENT 

Selena is a bit "quiet" and guarded because of the people she has protected from a young age and growing up so quickly 

SJM continually referenced Poison Ivy and Harley Quinn (maybe something important)

Her favorite version of Cat woman is Michelle Phipher

She kept her in mind when drafting the book but when she started writing her version of Selena is much different that the way Phipher portrayed Selena 

SJM doesn't outline her books, LIKE DOES NOT, so when she was told she had to send DC a three page synopsis of what the book was going to be about she was nervous 

But then when she started writing she just didn't stop and it ended up being 23 (or maybe 33) pages 

She advises to not wear leather in July 

Selena's new suit is more "breathable" 

She has just sent in/gotten back feedback on her first round of edits 

This summer will be a BIG focus on Cat woman edits

Marie Lu = Batman (2017) 

ANIMATED SERIES OF BATMAN ALL THE WAY 

She wished she could have included Dick Grayson (Nightwing) but he would have been a baby 

"He would have been Night Baby" 

Bruce's bad "guy" is a girl who may or may not be going to his school and is "dark" 

A big thing she had to work on was teenage Bruce since she kept going to adult Bruce because that was what she knew of 

Something she worked with was the idea that he is a billionaire orphan and trying to make his sound teenage-ish 

Bruce fights with figuring out who wants to be friends with him because of who he is vs. who wants to be friends with him because of his name (Wayne) and his money 

Just sent in the last of the edits I believe 

First time she has written in Third Person POV 

Arkahm is now on the outskirts of Gotham

Had talked to herself when she is alone "I AM BATMAN" 

Did not read the attachment when signing on to do the project 

Binged watched Batman everything for a day with her husband for research  

Matt de la Pena = Superman (2018) 

Fun to incorporate some of his own immigrant experience into the story 

HISPANIC LOVE INTEREST

Maybe awkward flirting scene between Clark and a girl in a diner  (one of his favorite scenes) 

Fun to find what is it like to be a teenager figuring out/developing/experimenting with new found abilities 

Clark is a football player who can score every time 

A question for him when he as writing was "what would it be like if Clark (being he muscular and athletic kid that he is) befriend the scrawny and 'weak' kid" 

He is on his first round of edits 

He worked with developing why and how Clark developed his golden compass good

Leigh Bardugo = Wonder Woman: Warbringer (August 29, 2017) 

She loved WW when she was younger but then fell out of love with her as she grew up because of some of the impossibilities of that world. And it took her a while to fall back/find why she loved WW in the first place

Don't worry she is head over heals in love with her now 

So the Amazons are not a Stone Age civilization 

She created it so that any brace woman who died in combat and prayed to a female goddess in her last dying breathes could become an Amazon 

Thus making it so that the Amazons are a bit more updated

Like with cars 

WW's crew is a mix of ethnicities, genders and sexual orientations (not 100% sure on this but it was heavily alluded to) 

Along with a jab at, fighting modern day issues and problems like an Orange chetto

One of the people that WW interacts with is: Alia 

A descendant of Helen of Troy (a war bringer that is hated upon by many) that WW wants to help and show that she can be good

There may be a game of truth or dare with the lasso of truth

WW does need to be taught slang 

WW may have a love interest 

WW is told in dual POV

WW and Alia 

WW is still the duagher of the Queen but is not beloved by all, some see her as an abomination

WW is the only Amazon that has not proven herself in battle and thus runs away at night to do so (the start of her journey)

Leigh Bardugo created some of her own Amazons because she wasn't able to use some characters she wanted to 

WW is a mix between model and knight in shining armor 

It felt good to write a character that was genuinely good

For all of them is was weird having someone to run everything by, to have to be approved to include certain characters. To not step over bounds and not be able to go back into that world they "created" once they finished the book.

[tuseriesdetv]

Guía de series: Estrenos y regresos de agosto 2020

En agosto, la segunda unidad a la mitad. ¡Estamos de saldo! De nuevo, un mes algo ligero, pero nada que no hayamos visto otros años a estas alturas. Verano equivale a sequía. De todas formas, como siempre, seguro que sabéis encontrar alguna joya oculta.

¡Feliz agosto!

Leyenda:

Verde: series nuevas.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

*

Calendario de series

3 de agosto: 

The Deceived (1T) en Channel 5

The Fugitive (1T) en Quibi

Immigration Nation en Netflix

4 de agosto: Little Birds (1T completa) en Sky Atlantic

6 de agosto: 

The Rain (3T y última completa) en Netflix

An American Pickle en HBO Max

Star Trek: Lower Decks (1T) en CBS All Access

Semi-Detached (1T) en BBC Two

7 de agosto: Alta mar (3T completa) y Work It en Netflix

9 de agosto: The Alienist: Angel of Darkness (2T finale) en TNT

11 de agosto: Stargirl (1T finale) en DC Universe

12 de agosto: (Un)Well en Netflix

13 de agosto: Mandy (1T) en BBC Two

14 de agosto:

Ted Lasso (1T) en Apple TV+

3% (4T completa), Teenage Bounty Hunters (1T completa), Fearless y Project Power en Netflix

16 de agosto: Lovecraft Country (1T) en HBO

18 de agosto: The Fugitive (1T finale) en Quibi

20 de agosto: Biohackers (1T completa) en Netflix

21 de agosto: 

Lucifer (5aT completa) y The Sleepover en Netflix

Chemical Hearts en Amazon

22 de agosto: Love in the Time of Corona en Freeform

23 de agosto: 

The Vow en HBO

Love in the Time of Corona en Freeform

24 de agosto: Reno 911! (7bT) en Quibi

25 de agosto: Trinkets (2T y última completa) en Netflix

28 de agosto: All Together Now y Orígenes secretos en Netflix

30 de agosto: Wynonna Earp (4T midseason finale) en Syfy

*

Estrenos de series

The Deceived (Channel 5)

Ophelia (Emily Reid, Belgravia, The Trouble with Maggie Cole) es una estudiante británica que se enamora de un profesor casado (Emmett J. Scanlan; The Fall, In the Flesh), viendo en él todas las respuestas a sus necesidades. La aventura resulta en una trágica muerte y Ophelia se ve atrapada en un mundo en el que ya no puede confiar en su propia mente. Completan el reparto Catherine Walker (Cursed, Versailles), Eleanor Methven (Little Women, Normal People), Ian McElhinney (Game of Thrones, Derry Girls), Shelley Conn (Liar, The Lottery) y Dempsey Bovell.

Escrita y producida por Lisa McGee (Derry Girls, Being Human) y Tobias Beer y dirigida por Chloe Thomas (Victoria, Harlots). Cuatro episodios.

Estreno: 3 de agosto

The Fugitive (Quibi)

Es una adaptación de la película de 1993 que seguirá a Mike Ferro (Boyd Holbrook; Narcos, Logan), un hombre acusado de organizar un atentado en el metro de Los Ángeles justo seis meses después de salir de la cárcel por otro crimen. Se le puede reconocer perfectamente en las grabaciones de las cámaras de seguridad justo antes del atentado, y la periodista Pritti Patel (Tiya Sircar; The Good Place, Witches of East End) informa antes de tiempo de su autoría. Clay Bryce (Kiefer Sutherland; 24, Designated Survivor) es el agente de contraterrorismo encargado de perseguirle. Completan el reparto Natalie Martinez (Kingdom, Under the Dome), Brian Geraghty (Chicago PD, The Alienist), Genesis Rodriguez (Time After Time, Entourage), Glenn Howerton (It's Always Sunny In Philadelphia, The Mindy Project), Daniel David Stewart (Catch-22) y Keilani Arellanes (Euphoria).

Escrita y producida por Nick Santora (Prison Break, Scorpion). Catorce episodios.

Estreno: 3 de agosto

Estreno en España: 3 de agosto en Quibi

Little Birds (Sky Atlantic)

Inspirada en la colección de historias eróticas de Anaïs Nin, publicadas póstumamente en 1979, sigue a Lucy Savage (Juno Temple; Dirty John, Vinyl), una americana recién llegada a Tánger en 1955 que desea liberarse de la prisión en la que le ha mantenido la sociedad y consigue la dolorosa pero necesaria independencia al mismo tiempo que el país. Participan también Rossy de Palma (Julieta, Mujeres al borde de un ataque de nervios), Hugh Skinner (Fleabag, W1A), Nina Sosanya (Marcella, Last Tango in Halifax), Jean-Marc Barr (Dancer in the Dark, The Cellar), David Costabile (Billions, Breaking Bad), Amy Landecker (Transparent, Doctor Strange), Matt Lauria (Kingdom, Parenthood), Yumna Marwan (Submarine) y Raphael Acloque (24: Legacy).

Escrita por Sophia Al-Maria (The Girl Who Fell to Earth) y dirigida por Stacie Passon (The Path, Transparent). Seis episodios.

Estreno: 4 de agosto

Semi-Detached (BBC Two)

Comedia en tiempo real que sigue a Stuart (Lee Mack, Not Going Out), un perdedor que está malgastando su vida en un barrio de las afueras. Solo quiere una vida tranquila como DJ de bodas, pero su familia parece tener otros planes. En el piloto, ya emitido, su esposa April (Ellie White; The Windsors, The Other One) se ponía de parto, y Stuart debía pedirle ayuda al novio de su exmujer (Patrick Baladi; Marcella, Breeders), que vive en el barrio, para llegar al hospital. Con Neil Fitzmaurice (Brassic, Mount Pleasant), Clive Russell (Game of Thrones, Cursed), Samantha Spiro (Sex Education, London Spy), Sarah Hoare (Chewing Gum) y Geoff McGivern (Quiz, Free Rein).

Creada por David Crow y Oliver Maltman y dirigida por Ben Palmer (The Inbetweeners, Breeders). Seis episodios.

Estreno: 6 de agosto

Mandy (BBC Two)

El sueño de Mandy es criar perros dóberman. Para superar los obstáculos que se lo impiden, intenta llevar una vida más saludable, alquila su habitación en Airbnb y coge varios trabajos de corta duración y sueldo escaso. Por suerte, cuenta con Lola (Michelle Greenidge; After Life, Code 404), su amiga y confidente del salón de manicura.

Escrita, dirigida y protagonizada por Diane Morgan (After Life, Frayed). Seis episodios. Estreno: 13 de agosto

Ted Lasso (Apple TV+)

Ted Lasso es un personaje que creó Jason Sudeikis (Saturday Night Live) en 2013 para cubrir la Premier League en NBC Sports. Es un entrenador de fútbol americano universitario de Kansas. Repitiendo la idea, Ted es contratado por un equipo inglés de fútbol (soccer) pese a su nula experiencia. Le acompañarán Hannah Waddingham (Game of Thrones, Sex Education), Brendan Hunt (Bless This Mess), Jeremy Swift (Downton Abbey, Wanderlust), Juno Temple (Dirty John, Vinyl), Brett Goldstein (Uncle, Drifters), Phil Dunster (Humans, Strike Back), Stephen Manas, Colin Blyth (The Crown), Bronson Webb (Strike, The Aliens) y Nick Mohammed (Uncle, Drifters).

Idea original de Sudeikis y Bill Lawrence (Scrubs, Cougar Town). Diez episodios. Estreno: 14 de agosto Estreno en España: 14 de agosto en Apple TV+ España

Teenage Bounty Hunters (Netflix)

Sterling (Maddie Phillips; Van Helsing, Supernatural) y Blair (Anjelica Bette Fellini; The Gifted, The French Dispatch) son dos hermanas mellizas de dieciséis años que se alían con un cazarrecompensas (Kadeem Hardison; Black Monday, Love Is___) y conocerán qué es saltarse las normas mientras experimentan el amor y el sexo adolescente.

Creada por Kathleen Jordan (American Princess), escrita por Robert Sudduth (On My Block, American Princess) y producida por Jenji Kohan (Orange Is the New Black, Weeds).

Estreno: 14 de agosto Estreno en España: 14 de agosto en Netflix España

Lovecraft Country (HBO)

Adaptación de la novela de terror de Matt Ruff (2016) en la que tres afroamericanos viajan por Estados Unidos en los años 50 enfrentándose tanto al racismo de los blancos como a espíritus malvados. Leti Dandridge (Jurnee Smollett-Bell; Underground, Friday Night Lights) es una artista que quiere echar raíces tras protestar por los derechos civiles a través de todo el país. Le acompañan Atticus Black (Jonathan Majors; When We Rise, Hostiles), que está buscando a su padre (Michael Kenneth Williams; The Wire, Hap and Leonard); y su tío George (Courtney B. Vance; American Crime Story, Law & Order: Criminal Intent).

Completan el reparto Wunmi Mosaku (The End of the F***ing World, Kiri), Aunjanue Ellis (Quantico, Designated Survivor), Jamie Chung (The Gifted, Once Upon a Time), Jordan Patrick Smith (Vikings, Neighbours), Jamie Neumann (The Deuce, Jessica Jones), Erica Tazel (Justified, The Good Fight), Mac Brandt (Kingdom, Arrested Development), Tony Goldwyn (Scandal, Ghost), Abbey Lee (Mad Max: Fury Road), Marcus A. Griffin Jr., Chase Brown y Jada Harris .

Escrita por Misha Green (Underground) y producida por Jordan Peele (Get Out) y J.J. Abrams (Castle Rock, Westworld). Ocho episodios.

Estreno: 16 de agosto Estreno en España: 17 de agosto en HBO España

Biohackers (Netflix)

Mia (Luna Wedler; Dem Horizont so nah, Blue My Mind) decide estudiar medicina en una importante universidad alemana para acercarse a una profesora (Jessica Schwarz) que podría estar relacionada con su tragedia familiar, pero acaba inmersa en un peligroso mundo lleno de experimentos genéticos ilegales y tendrá que decidir entre la venganza y proteger a sus nuevos amigos.. Con Thomas Prenn (8 Tage), Adrian Julius Tillmann, Caro Cult (Babylon Berlin), Jing Xiang, Sebastian Jakob Doppelbauer y Benno Fürmann (Babylon Berlin, Hanna).

Escrita y dirigida por Christian Ditter (Girlboss, Vorstadtkrokodile). Seis episodios.

Estreno: 20 de agosto Estreno en España: 20 de agosto en Netflix España

Love in the Time of Corona (Freeform)

Limited series sobre la búsqueda del amor y el sexo en tiempos de distanciamiento social. Con Leslie Odom Jr. (Smash, Person of Interest), Nicolette Robinson (The Affair, Hart of Dixie), Tommy Dorfman (13 Reasons Why, Jane the Virgin), Rainey Qualley, Gil Bellows (Ally McBeal, Patriot), Rya Kihlstedt (Charmed, One Mississippi), Ava Bellows y L. Scott Caldwell (Lost, How to Get Away with Murder)

Grabado desde las casas reales de sus protagonistas. Escrita por Joanna Johnson (The Fosters, Good Trouble) y producida por Christine Sacani (The Fosters, Good Trouble) y Robyn Meisinger (Prisoners, Slender Man). Cuatro episodios.

Estreno: 22 de agosto