L-R: Jason Sudeikis and Annette Badland in Season 4 of ‘Ted Lasso’
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‘Temptation Island’ Is Most Emotionally Mature Reality Series on TV
Across its many subgenres, reality television is a format that contains multitudes, including competition, luxury, romance, aspirational support or instruction, scopophilia, pure escapism, and, at its most shameless (and sometimes, yes, gratifying), a heaping portion of schadenfreude.
Though confrontation — be it physical, professional, or behavioral — is often the linchpin that drives much of these series’ twists and turns, self-examination and true accountability is seldom deployed to facilitate whatever goal each show’s cast members hope to achieve.
Now in its 25th year — an older age than many of the comely individuals who appear on the show — “Temptation Island” has developed a much different and more sophisticated approach to reality programming than its reputation (and indeed, its premise) suggests. While it also delivers plenty of red meat for messy bitches like yours truly who love drama, the dating competition show is the rare exception that aims to probe and genuinely enlighten its contestants, not simply air their foibles in the most public and potentially unflattering way possible.
Hosted since its 2001 premiere by Mark L. Walberg (no relation), “Temptation Island” debuted its tenth season on April 10, marking two and a half decades of some of the soapiest — and most irresistibly watchable — reality programming on television. Focusing yet again on four couples whose proposed remedy for relationship troubles is to visit a tropical island where they’re separated from their partner and courted by 12 of the most beautiful people viewers have ever seen, the show tests its contestants’ ability to look inward honestly at themselves almost as rigidly as it tests their fidelity to their presumed mates.
Walberg has become the indispensable glue that elevated the series from trash TV to a therapeutic exercise for both the cast and audience. “That was never the intent,” admitted Walberg, a veteran television personality and game show whose credits also include “Shop ‘til You Drop,” “Wheel of Fortune Live!” and “Antiques Roadshow,” during a recent interview with IndieWire. “The intent was just to host a TV show, but it’s just shocking to me how you never know where an opportunity to be your authentic best self will show up.”
Aside from its title and its format, Walberg said the show originally didn’t have a plan except to separate couples, film their exploits while they explore temporary singlehood, and then edit the coeds’ misadventures into juicy clips shown to their boy- or girlfriend during come-to-Jesus bonfires. He said his medium-pressure approach to examining what each contestant saw, and how they felt about what they saw, was first implemented to encourage them to lower their defenses, in the process eliciting more on-camera candor.
“I said to [the producers], I’m going to talk about stuff that doesn’t seem like I’m heading anywhere, but that’s to get [cast members] to let their shoulders down,” he said. “And then, ultimately, they’re going to give you responses, cut me out of the show, and then you’ll have the content.’”
In his thirties at the show’s beginning, Walberg was only a few years older than the couples whose bond was being tested, but he was already married. “I did have experience,” he said, with the challenges of committed relationships.
A Season 1 producer initially balked at his seemingly meandering style, but by Season 2, Walberg was being pressed by that same producer to do more counseling with the contestants than refereeing. “I found that production and audiences were leaning into the stuff I was saying, the advice stuff. Now, people are calling me this relationship expert, and I’m like, ‘I’m not that dude,’” he said. “But I guess that’s the natural evolution of where this thing has gone where the bonfires have gotten deeper and deeper.”
Since 2001, the show has moved networks twice and produced ten seasons, all taking place in an exotic location and featuring several dozen impossibly beautiful men and women. Walberg’s intermittent appearances at the contestant villas to announce an unexpected change or upcoming bonfire invariably produces some anxiety for the men or women on that side of the island, but his paternal energy and the precision of his language once they’re watching footage of their partner provides more than a salve; it holds up an incisive mirror.
“I try to say their words back to them, and speak to what I’m feeling,” Walberg said. “I guess if there’s anything different about me than maybe other game show hosts, it’s that I don’t really listen to what they’re saying, I listen to why they said it. And it’s really revealing — I’m looking at these young couples searching for why the problems have shown up, hoping that we can find some crack that makes a difference for them.”
A lot of reality programming feels like a delivery system for viewer speculation and judgment, often to tremendous entertainment value. In the current season, two couples almost immediately seem to be on shaky ground: down-to-earth beauty Sydney and her self-professed “former hoe” boyfriend Mikey, and former high school sweethearts Shyanne and Jack. In both cases, the more skeptical (or even fearful) member of each couple is confronted by bad behavior from their counterpart.
Yet, when Walberg walks them through the footage at each bonfire, the thing he specifically holds back is his opinion of what they are watching or doing. “The way that I access the ability to do this is there’s no room for judgment,” he said. “I look at each couple as on their own ‘journey’ — though I hate the word because it’s like a drinking game on our show.”
Despite the paucity of deeper psychological analysis that typically happens on other reality series, therapeutic language (starting with buzzwords like “journey”) has, in recent years, been utilized across the medium with increasing frequency by contestants. Walberg admits that such self-diagnoses can form a blockade preventing his young cast from making real insights about themselves and their relationships. “The language of emotional intelligence — ‘holding space,’ ‘setting boundaries,’ ‘trigger,’ those words can also be a barrier to being open,” he said. “It becomes a crutch. I do my best to try to not doublespeak it, but I think that that lexicon is in this younger generation is helpful as long as it’s directed in the right way.”
“For instance, on our show, there’s a lot of talk about ‘I’ve created boundaries’,” Walberg continued. “And this isn’t me asking a lawyer question where I know the answer, but the question is, in this extreme ridiculous situation, are those boundaries serving you or holding you back? And I offer the possibility that just not cheating on the show for three-and-a-half-weeks is not a big fucking deal. Good for you. But did you learn more about you in the process?”
Walberg may have taken the initiative with this approach, but he’s not working alone. He shared that there’s a licensed therapist on set available to both him and the cast members. “I will sometimes check with her and say, ‘Hey, did I get in the danger zone?’” he said. “I’m looking for some assurance — not so much direction in where to go, but did I say anything that was wrong, hurtful, or misdirected? And they’re very kind in that collaboration.”
There’s also a second resource he draws from that’s closer to home: “the other person that is a north star is my wife, who’s done a lot of work on both of us,” he admitted. (As if to prove it, he later interruptted our conversation to briefly check on her after he missed a few calls, showing her the same thoughtful engagement that he does the couples on the show.)
Despite this arsenal of guidance, Walberg can still face an uphill battle getting cast members to look honestly at themselves and their relationships — especially with 12 singles validating their perspective, without possessing any real-world context, as a component of “tempting them.” Is Jack a do-nothing philanderer while Shyanne desperately tries to preserve their five-year romance, or is the truth more complicated than that? What has she done in return, or what isn’t she admitting? For audiences, the echo chamber that develops in the villas can seem debilitating to a possible reconciliation, but Walberg says that there are invariably a few authentic souls whose support is sincere rather than a tactic to get them into mischief.
“The singles who are there to tempt them appear to be playing the game sometimes, but in fact, as time goes on, the real ones emerge,” he said. “The dudes who might appear to be predatory or saying just what they need to hook up actually end up usually being far more of a confidant than a lover. And on the girls’ side, it’s a little more playful and gets a little crazy, but every season, there’s one or two real ones who have a tough love conversation where they really check one of our guys.”
He pointed to the dynamic that emerges in the new season between Mikey and India, one of the singles Mikey confesses he’s drawn to but seems to equivocate on whether to cross the threshold into a thornier romantic coupling. “She’s like, ‘Look, if you want to take this another level, then get real. If you want to just bro out, we can bro out.’ And she said it much better than I said it!” Walberg said with a laugh. “I think what happens often is those authentic people on the show connect and grow each other up a little bit.”
Helping the contestants navigate what they see can sometimes be tougher for Walberg than helping them navigate what they actually do. During a clip shown to fashion executive Kaylee at one bonfire, her gregarious fitness coach boyfriend Summit is dared in a game to kiss somebody in his villa. In the uncut segment, he moves toward a single woman he’s begun bonding with, but instead playfully deflects by pretending to kiss fellow contestant Mikey. Kaylee only sees his advance towards the young woman. “I didn’t like that,” confessed Walberg. “I don’t like it when the show is proactive in misery. If the show shows a clip that’s inconclusive and you could add into it, that’s exactly what those clips are supposed to do is bring up a feeling. When it’s a purposely misleading clip, I’m not so down.”
Walberg adamantly refuses to betray either the editing choices of his producers, or the confidence of cast members who may or may not transgress against their partners. “I’m not informing their situation by giving them information they’re not privy to,” he said. “But the way that shows up for me is where I’ll say stuff like, ‘Don’t make decisions yet. [But] I know it feels that way. I’m validating it — that’s real for you.’” After Sydney witnessed behavior from Mikey in her very first bonfire clip that prompted her to believe he couldn’t remain faithful, she quickly fell into a relationship with hunky product manager Xzavier. As electric as the connection palpably seemed between her and Xzavier, Walberg cautioned her not to rush into anything too quickly.
“I was urging her all along, ‘I support this love thing you seem to find with Xzavier and I hope that’s great for you, but let’s not make decisions yet because you don’t know who you’re going to actually be sitting across from this final bonfire,’” he said.
Despite those occasional disagreements about choices like the show’s purposefully, even necessarily selective editing, Walberg suggested that the producers of “Temptation Island” walk an ethical line better than any he’s seen as a reality series host. “They have to do what I do in the bonfire all day every day as people are acting out and having a hard time,” he empathetically noted.
Walberg indicated that he tries less to emphasize what may be truthful or manipulated from their partner than how they feel as they watch clips at the bonfire. “I just try to keep asking questions about what’s their current emotional state?,” he said. “I’m really more interested in what are the patterns in this relationship that are repeated from past relationships? Because what happens on the island is couples come in with problems, and when I ask them what the problems are, it’s usually ‘she’ or ‘he.’ And then I say, ‘OK, I heard you. Now, let’s just keep it on our side of the street for a minute because you can’t control that.’”
To Walberg, that’s where the true victories occur on the show: when a contestant recognizes a behavior or choice in themselves that prompts real insight and change. “I’m a TV host, but those conversations I have are real for me,” he stressed. “So when we come to and something I say opens up a new way of a new understanding, even an inkling, it’s proud dad moment.”
After 25 years, he acknowledges that he probably takes the process “far too seriously,” but hopes that despite all of the show’s prurient details and messy entanglements, couples at home watching “Temptation Island” can find something to relate to — if not facing temptation 12 willing partners at a time, then perhaps an ounce of the emotional clarity that emerges such a reckoning.
“What I like is, as a viewer, it gives you all the mess, all the guilty pleasure, all the drama, all the tea, all that stuff,” he said. “But I think it taps into something else that’s also enjoyable for us. If it were just a sport where we watch them just ‘Hunger Games’ themselves, I couldn’t sleep. I feel very honored that they let me in, and really impressed and have respect for them allowing themselves to go there. And when they have a breakthrough and they start on a journey of self-discovery, I’m glad that we get to have these conversations.”
“Temptation Island” is now streaming on Netflix.
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EXCLUSIVE: Power Couple seller Dori Media is heading to Cannes with the largest unscripted slate in its history.
At MIPCOM, the Israeli company will debut the likes of games shows The Hive and You Should Know, docu-series My Hottest Years and primetime reality format New Love, which is from Power Couple maker Abot Hameiri.
Also on the slate is Paraiso Tropical, a doc exploring a mysterious Panamanian plane crash, and Seekers, which looks at humans’ search for meaning.
“We have been listening to our clients across the globe, many who are looking for affordable content that can help them break through with their local audiences and we are headed to MIPCOM with our largest slate of unscripted programming, a slate that features many new offerings that we believe can do just that,” said Dori Media Group CEO Nadav Palti.
Studio quiz show The Hive comes from and is from United Studios Productions and channels Kan 11 and Makan. The show’s USP is that knowing the right answer isn’t enough: Contestants need to know when to take a risk, when to block an opponent, and how to build a strategic play.
You Show Know is another quiz, this time from Shenhar Productions. Questions are tailored specifically to each contestant, drawing from their social media feeds, meaning they should, in theory, know the answers.
Doc series My Hottest Years comes from Drucker-Goren Communications and is for Kan 11, looking at what happens when women’s hormones change, while New Love is a dating reality show for Reshet 13. The format sees women live with a carefully-selected stranger for 72 hours, before they decide whether to stay for another three days or replace them with someone new.
Paraiso Tropical is a co-production from Apertura Films and Ajimolido Films in which filmmaker Abner Benaim reopens the case of a passenger plane that exploded over Panama, killing all 21 on board, including his under. Seekers, meanwhile, runs to six parts and follows the human experience through the eyes of an Amazonian chief, an Advaita monk, an African healer, a Hindu sage, a Native grandmother and a Buddhist psychologist. Édgar Ramírez, Riley Keough and Jamie-Lynn Sigler all feature.
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SPOILER ALERT: This post contains spoilers for Ted Lasso Season 4, Episode 9, titled “Mae Rides The Bus,” now streaming on Apple TV.
The title of the second-to-last episode of Ted Lasso Season 4 hints at a goodbye to a beloved character who has been around since the first season.
Episode 9 bids farewell to Richmond’s own Mae Green (Annette Badland) who dies doing what she loves: supporting the Lady Greyhounds at their away match against Bristol City in the stands.
“That’s what happens. You’re involved with folks, and they disappear. They go, and she loved her life,” Annette Badland told Deadline. “She made the very best of her life and really relished it. So she went, I suppose, for her, in the very best way.”
The Crown & Anchor pub owner was invited to take the team bus to the away game after she had hinted that it would be difficult for someone with her “level of seasoning” to make the two and a half hour drive. Thus, Ted (Jason Sudeikis) and Coach Beard (Brendan Hunt) invite her on the shuttle with all of the players, and they embrace Mae as one of their own on the drive.
RELATED: ‘Ted Lasso’ Episode 6 Recap: Phil Dunster Returns & New Believe Sign Debuts On New Year’s Eve
“I love the Lionesses, so I was thrilled when [Season 4] happened, and the girls are tremendous and effervescent and glorious to be around. The pub quiz scene took a couple of days to shoot, but that was like a tidal wave coming,” Badland said. “They are just so full of energy and life. So that was just something wonderful to be involved in, and just enhanced all the feelings and the camaraderie. And Mae couldn’t play football, wasn’t allowed to play football, I’m sure she’s had a lot of bad stuff in her life, but she just carries on and defies the odds and just keeps on pitching. That’s an excellent story to tell.”
In the below interview, Badland unpacks Mae’s legacy left on the series, transitioning from the men’s team dynamic of the first three seasons to the Lady Greyhounds and how Mae might come up in the finale episode.
DEADLINE: Did you know about this episode for Mae when you signed on for Season 4? How did you react when you found out what would happen for her in Episode 9?
ANNETTE BADLAND: No, I didn’t know, and I didn’t know till about, I suppose, maybe November. We were only an episode away filming that. I was shocked, but I’m very proud being in the show, and I admire Jason [Sudeikis]. I think the series is so successful because people smell it’s very genuine. The audience know it’s not made cynically. It’s not a product. It’s something Jason wants to say about the world and how we are, so you have to trust that.
I don’t know when I’ll die. You just don’t know. So, being told that it was going to happen quite close to it being filmed, you just have to go. ‘Well, that’s [that]. He told me in the storyline, so he started at the beginning [with] “I invite her to come, and blah blah, and she won’t drive, and then she comes to the grounds and she goes in the bus,” and I’m going, “Oh wow, this is…” and then “She passes.” [Gulps.] But hopefully that’s what will happen for the audience too.
DEADLINE: How did you want to approach the speech you gave in the locker room before the game? There’s the moment in the bus before where they’re like, “We’re gonna grill you about your whole life and everything you know. How did you approach those scenes with the end of the episode in mind? What you wanted to leave on the field, for lack of a better way to put that?
BADLAND: I think not giving in. She’s very outspoken. She’s a lioness who will defend you till the nth degree once you’ve got her heart and respect. Being an older woman, where you do become invisible, Mae’s never going to be invisible. She will not allow that to happen. I get ignored. You’ll stand at a counter, and people won’t bother, or they’ll walk into you. “You’ve had your time, move aside.” And Mae would not allow that, and was still in there pitching and relishing.
DEADLINE: What does it say about her that she wants to sit in the audience stands or the supporters side versus the box with Rebecca and everyone?
BADLAND: Yeah, not her people, and she might have felt constrained. “Well, I’m not going to sit and behave myself or feel the fool because I’m sitting with you.” I’ll go where the folk that really scraped together to get the money, who are dedicated, [are sitting]. Even although it was her pub, she’s not part of a hierarchy. Everybody’s judged on how they are. Just not her style. Go and be with the real fun.
DEADLINE: There’s the hint of the shares and the battle that’s going on there. And Mae has shares, and she was like protecting her patrons at the pub. Can you tease anything about how could she could leave an impact that way too on the team?
BADLAND: Well, she had a very large pile of shares. I mean, they were about “yay high” (gestures to table height she sits at.) She uses them to good effect. Her instructions are for them to be used in a particular way that is quite good.
DEADLINE: I love her relationship with Ted’s son this season too. I was hoping you could talk about working with Grant and any wisdom she maybe has left with him?
BADLAND: He is a delight. He’s a beautiful young man, and bright. We got on terribly well, and I shall miss him. Really, it was great having that element in the pub too. Another side of her. I can’t tease you with anything, I don’t think, but he knows what he’s doing now with a tea towel.
DEADLINE: Keeley’s pregnancy is revealed in 409, and I’ve heard some people talk about the cycle of life and how someone passes and then a new life comes into the world. So I was curious if you had any thoughts on those themes for episode nine?
BADLAND: Oh yes, well it’s absolutely true, isn’t it? We move along. We’re here for a very short time, and the next wave, the next group of people comes in. I’m delighted for Keeley, just delighted, and poor old Roy.
DEADLINE: This episode felt like such a great send off for Mae, but could we still see a funeral or something in the finale?
BADLAND: You could, maybe. I guess, or it’s like, “Oh well, that’s it.” [They could forget about her.]
DEADLINE: What do you think she would want as a celebration of her life? Have you thought about that at all?
BADLAND: Oh, she’d have asked for a tremendous party at The Crown and Anchor. Everyone invited. Jason did modify some of 410. We talked after he told me about her passing, and he did, because that’s how he is. He’s responsive and collaborative. So he did change some of the stuff in 10, or incorporated what we talked about. She doesn’t just [go away]. She has, not an appearance, but she is still within the context.
DEADLINE: I’m also worried-not worried, but the pub was her thing. So I hope it’s in good hands in the future.
BADLAND: So does she. Oh yes.
DEADLINE: Anthony Head gets an acknowledgement in 409, and Rupert gets his mention too. How did that all weave together with Mae also leaving? What are your thoughts on that? You had scenes with Anthony in the past.
BADLAND: He came in the pub. The darts, and we were around. He came in more than that, but that was the main one. He was a beautiful man, and he will be much missed. He was charming and funny and generous, and we’d have naughty little sort of asides. And I had wondered why we weren’t — I assumed he would be in this last [season] and didn’t know, as I think very few people knew, he was ill and just couldn’t do it.
So we will miss him, and I respect him, and I think it’s a great honor to be in the episode that is dedicated to him.
DEADLINE: How did it feel embarking on this new chapter of the show after the previous three seasons with the men’s team, and how much do you think it meant to Mae? Could you talk about that transition and leaving the show behind?
BADLAND: Well, when we finished [Season 3], we didn’t think there would be another. Jason had said, “I’ve got a three series arc, that’ll be it.” And then to go back and to take, it’s very exciting because it’s a risk, isn’t it?
A female team [is] quite quite different, and the men have come with it. The male audience have gone with it, like they do with the genuine footballers. And there’s good stories, different stories in there, different tales to tell. So, I’m absolutely thrilled that it seems, in England, certainly, to have taken off this year. People don’t know what to do. They don’t know whether to watch it episode by episode or to binge watch it. They can’t wait to binge it. So that’s thrilling, absolutely thrilling. I’ve had a great time. I’m privileged to have been part of it, and I’ll just have to be in the stands, won’t I? And see how they progress.
Or there is a film called Wonderful Life, where an angel [comes down.]
Annette Badland in ‘Ted Lasso’ Season 4
Apple TV
DEADLINE: I could see them incorporating it. I love that movie. We watch it every Christmas. She would be such a great Clarence-esque character.
BADLAND: Yeah, popping up in someone’s conscience and tearing them off a strip or whatever. Or giving them information.
DEADLINE: I feel like Beard may need some of that for some reason. Because we don’t see his reaction, at the end of the episode. We see it’s Rebecca’s telling Ted, you don’t see the words pass, but just from his actions, you know that she’s died. But yeah, I guess curious to see what will happen with him. I love that idea. I hope you’ve pitched that and that it comes to light in the future.
BADLAND: As soon as he said she passed, I said, “Oh, can I come back as an angel?” So we did talk about it.
But he doesn’t do the predictable, does he? That’s what’s so delightful.
DEADLINE: That’s all I had, unless you wanted to add anything else about what fans come up to you and say when they recognize you from the show, or any last words before we go.
BADLAND: Ah, encountering them is terrific, and I’m very proud to have been in this because I still get messages from people saying, you know, things like “My mom’s very ill with cancer. She comes home from her treatment. We all pile on the bed. We put Ted on. We believe. We laugh.” So that’s a just tremendous thing to have in the world, and to be connected to it, and feel you’ve done that for folk. No bad thing, eh?
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SPOILER ALERT: The story includes details about Episodes 408 and 409 of Apple TV’s Ted Lasso.
A very emotional Ted Lasso episode that included the death of a beloved original character, The Crown & Anchor pub owner Mae Green, played by Annette Badland, also acknowledged the death of the series’ popular recurring cast member Anthony Head, who played the villainous Rupert Mannion in the first three seasons.
A card, In Memory of Anthony Head, ran at the end of Season 4’s penultimate episode, “Mae Rides the Bus.” (You can see it below.)
“He was a beautiful man, and he will be much missed,” Badland told Deadline during an interview about Mae’s shocking death, reminiscing about famous Season 1 darts scene between Rupert and Jason Sudeikis’ Ted Lasso at the pub. “He was charming and funny and generous, and we’d have naughty little sort of asides.
Ted Lasso was always expected to pay tribute to the veteran British actor who died on June 1 at the age of 72. When that was not done in the Season 4 premiere, many thought that Head would be honored in an episode he appears in as the season had wrapped production in January, months before his passing.
“I assumed he would be in this last [season], and didn’t know, as I think very few people knew, he was ill and just couldn’t do it,” Badland said.
Barely referenced in the first seven episodes, Head’s Rupert, ex-owner of AFC Richmond and ex-husband of the club’s current owner Rebecca (Hannah Waddingham), came back into the forefront in Episode 8, when Higgins (Jeremy Swift), with the help of Mae and her “Follow the anger” advice, deducted that Rupert had been secretly buying shares to regain control of Richmond.
That remained a story thread in Episode 9 until the surprise twist at the end that revealed it was not Rupert but Tracey Ullman’s Zelda Southport who was behind the shady operation and on the verge of becoming a majority owner of the club.
The move raised questions whether Ted Lasso had pivoted from Rupert to Zelda as the culprit — and away from a potential Rebecca vs. Rupert battle for control of Richmond — in light of Head’s death (or leading into it). According to sources, no Season 4 storylines were changed following Head’s passing, there had been no formal plans for Head to be in Season 4 and no official approach to him about appearing.
It is unclear whether that was related to Head’s health issues which had been kept private. (His cause of death was listed by his daughters as complications due to pneumonia.) Head’s last acting credits were Season 3 of Ted Lasso, which came out in 2023, and the 2024 Prime Video movie Upgraded.
It is a longstanding TV tradition for characters to mirror the death of the actors who played them by passing away in the show. Because of the timing of Head’s passing after Season 4 had been completed, that will likely happen in Season 5.
The eccentric ultra-wealthy entrepreneur and sports investor Zelda — a polarizing and largely disliked new character introduced in Season 4 — had long been suspected by fans to be the season’s secret villain.
Zelda, who had become involved in Richmond’s women’s team with Keeley’s (Juno Temple) enthusiastic support over Rebecca’s serious reservations, was present when Higgins told Rebecca in Season 8 that Rupert was behind the buyouts. In fact, Zelda looked rather nervous for a moment when Higgins announced that he had solved the mystery before he dropped Rupert’s name and she chimed in with “Never underestimate the power of anger as fuel.” (We will likely find out more about her motives in the Season 4 finale.)
In Episode 9, Zelda also happened to be there any time Higgins and Rebecca discussed the matter. That included him telling his boss in the office that Rupert’s lawyers were “denying knowing anything about people selling shares but since there has been a pause in buying” and that Rebecca won’t lose control of the club regardless, as long as the Milk sisters, who no one had been able to get ahold of, don’t sell their shares. The three also were together on board the Richmond private jet when Higgins told Rebecca that even without the Milk sisters, the mystery buyer they believed to be Rupert can get 49% of the shares.
That may prove a moot point as Zelda was later seen giving her henchman, who had located the sisters, instructions to go as high as needed to secure their shares.
With the mystery solved, the producers felt it made sense to run an end card honoring Head in Season 9. Rupert had his Season 4 moment in 408 and 409, so paying tribute to Head following the close of his character’s two-episode arc felt most appropriate. (Running the card at the end of Episode 8 likely also would’ve spoiled the surprise that it wasn’t Rupert who was buying the shares.)
Head recurred on the first two seasons of Ted Lasso, becoming a series regular in Season 3. His character Rupert, Rebecca’s vindictive and philandering former husband who lost Richmond to her in the divorce, was the original three-season installment’s main antagonist. He subsequently bought another Premiere League team — West Ham United — and recruited Ted’s kitman turned assistant coach Nathan Shelley (Nick Mohammed) to work with him, before losing it in the Season 3 finale.
“We will miss him, I respect him, and it’s a great honor to be in the episode that is dedicated to him,” Badland said. Here is a video of her comments.
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