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Ted Lasso is gonna have to book another transatlantic flight. Well, three to be precise. All good: AFC Richmond will probably take care of that.

On Tuesday, Apple TV released the trailer (below) for the 10-episode fourth season of its crown jewel Ted Lasso — this whole thing came so close to never happening. Ted Lasso season four premieres with just one episode on Wednesday, Aug. 5; the remaining nine episodes will roll out one at a time each Wednesday through Oct. 7. Apple has every reason to want to extend this thing — who knows how, when and even if we’ll get more.

After a few years back in the states, in season four, Ted (Jason Sudeikis) returns to Richmond, “taking on his biggest challenge yet: coaching a second division women’s football team,” the synopsis reads. “Throughout the course of the season, Ted and the team learn to leap before they look, taking chances they never thought they would.”

The familiar faces are pretty much all there — minus the men’s players, that is. Hannah Waddingham, Juno Temple, Brett Goldstein, Brendan Hunt and Jeremy Swift all return for season four. Counted among the show’s newcomers are Tanya Reynolds, Jude Mack, Faye Marsay, Rex Hayes, Aisling Sharkey, Abbie Hern and Grant Feely.

Ted Lasso is executive produced by Sudeikis alongside Hunt, Joe Kelly, Jane Becker, Jamie Lee and Bill Wrubel. Jack Burditt joins their ranks this season under a new overall deal with Apple TV. Goldstein is writer and executive producer alongside Leann Bowen. Sarah Walker and Phoebe Walsh are writers and producers for season four; Sasha Garron co-produces. Julia Lindon will write for season four, and Dylan Marron will serve as story editor.

Bill Lawrence executive produces via his Doozer Productions, in association with Warner Bros. Television and Universal Television. Doozer’s Jeff Ingold and Liza Katzer also serve as executive producers. The series was developed by Sudeikis, Lawrence, Kelly and Hunt, and is based on the terrific, old NBC Sports commercials.

Ted Lasso won back-to-back best comedy Emmys for its first two seasons. Season three was a bit of a regression, and seemed to serve as the natural conclusion for the series. And then Sudeikis had an epiphany.

The 2021 blockbuster Spider-Man: No Way Home ushered in a pile-up of villains from the superhero’s past, multiplying the title character by three to even out the odds and extend its embrace across the Marvel property’s modern screen era, dating back to 2002’s “Raimiverse” kick-off. Five years on, Spider-Man: Brand New Day reins all that in to find a more introspective Peter Parker in emotionally bruised isolation following his self-sacrificial decision to save the world by erasing its memory of him. 

Directed with adrenaline and feeling if not always an ideal grasp of pacing by Destin Daniel Cretton and penned by returning screenwriters Chris McKenna and Erik Sommers, the entertaining new entry has the good sense to stop banging on about the damn multiverse. Instead, it foregrounds the humanity that has always been Spidey’s greatest strength — with an extra dash of angst. But fear not, that doesn’t mean the man in the red and blue webbed suit (don’t call it a leotard!) is stuck whining away on a psychoanalyst’s couch or poring over self-help manuals. 

Naturally, he still spends a lot of time fighting villains and thwarting crime, most notably a threat of almost unprecedented magnitude through which telepathic mind games enable the misunderstood fiend to hop from one host body to the next like a nimble trickster — with help from some cool, woozy freeze-frame effects. Anyone in New York City could be the menace, including those who set themselves up as peacekeepers.

Trailers have already given away the presence of Mark Ruffalo as Bruce Banner, now teaching college physics to students who mostly just want to hear about the not-so-jolly green giant. No surprise that where Bruce goes, Hulk follows. Ditto a terrific Jon Bernthal as Frank Castle, aka The Punisher, who acts like he and Spider-Man are old frenemies though that will be somewhat confusing to those of us without a comprehensive knowledge of the comics. 

But there are two more MCU crossovers — one from The Avengers and one from X-Men — that go beyond fan service to bring welcome touches, respectively, of mordant humor and unpredictable danger. Spoiler ettiquette forbids me from naming those characters or the actors playing them, even if they will probably be all over social media by the time this review runs. But if you want to try figuring it out, one quite hilariously treats a Russian bathhouse in Brooklyn as their HQ and the other was often described by Professor Xavier as his most talented student. IYKYK.

The dominant thread, however, at least until full-scale mayhem erupts, is Peter Parker’s identity crisis, which gives a never-better Tom Holland soulful new notes to play in his fourth solo turn in the tights. This is a heavily burdened Spider-Man, rendered more vulnerable by his sense of loss, mourning his beloved Aunt May (Marisa Tomei) and pained by having to watch from afar as the love of his life, MJ (Zendaya), and his geeky best friend Ned Leeds (Jacob Batalon) carry on with their lives with no memory of him.

Peter obsessively rehearses the reunion speech he has written for MJ — “We used to know each other. We were together.” — going on to explain that the only way to stop something terrible from happening was to make everyone forget. But rekindling the spark proves complicated, even as he slowly reintroduces himself into MJ and Ned’s lives, soon after they graduate from MIT and move back to NYC.

In his bleakest moments, Peter tries to reconcile his loneliness with his self-diagnosed new responsibility: “To live alone with the truth.” But his mental anguish is upsetting the balance of his cross-species DNA, first with paralyzing headaches and gradually with an internal battle as his arachnid side starts overpowering his human side. That also plays havoc with his control over his web-shooting capabilities, both the old-school organic method and the tech version built for him by Tony Stark. 

While separated from his inner circle, Spider-Man has been busy reducing crime to a record low, earning much appreciation from Det. DeWolff (The Bear‘s Liza Colón-Zayas, nice to see you), with whom he maintains a bantering phone friendship. But he comes up against a greater challenge when he responds to a crime alert about a hijacked tank careening through the city, headed for the Damage Control Headquarters. 

That high-speed, major-destruction chase is one of several supercharged set-pieces impressively executed by Cretton, DP Brett Pawlak and an ace stunt team. The tank’s arrival coincides with the transfer to maximum-security lockup of the mutant criminal known as Scorpion (Michael Mando), last seen wielding his armored tail in Spider-Man: Homecoming. Or is the Scorpion just a red herring, under the spell of a darker force?

That encounter gives Spider-Man a taste of the mind-control phenomenon that will be the action’s principal driver — described as something closer to “possession” by a savvy insider who makes teasing mention of the erotic gay fanfiction Spidey has inspired. (Maybe Sony should market that to broaden their audience?) While at Damage Control, Spidey meets the center’s director, Bill Metzger (Tramell Tillman, coolly composed and authoritative), who reveals that they are studying captured villains and their weaponry, with the aim of repurposing that knowledge for law enforcement.

One of Metzger’s success stories is The Hand, a band of red-clad ninja badasses whose destructive energy supposedly has been redirected into more useful service. Don’t be so sure. This group allows Cretton to revisit similar territory to his enjoyable first MCU movie, Shang-Chi and the Legend of the Ten Rings, with some spectacularly choreographed, gravity-defying wire-fu fight action.

All this chugs along satisfyingly even with the occasional patch of sluggishness and the usual overly convoluted plot contortions. As much as the movie revels in the thrill of Spidey swinging between skyscrapers with erratic command of his shooters, the more intimate scenes with MJ and Ned are what supplies the emotional charge.

The dynamic of these three together — and of Holland, Zendaya and Batalon in the roles — has been lovingly nurtured over four films and pays off here with genuinely affecting moments that will have some fans getting misty-eyed. Likewise, the spiky cameraderie between this more mature Spider-Man and rough-hewn vigilante Frank provides an extra dose of heart

The heat gets fully turned up when the identity of Sadie Sink’s character is revealed, at first driven by fury, contempt and manipulation mastery but eventually revealed to have much in common with Peter in terms of devastating loss. Without giving too much away about the role, the Stranger Things star’s compelling performance puts a new face on a familiar character and a painful new backstory to drive her actions, perhaps setting up future appearances. 

In addition to the actors, Cretton’s biggest asset in balancing the tone between excitement and tenderness is Michael Giacchino’s excellent score, interspersing melancholy passages that echo the characters’ internal unrest with more rousing action accompaniment.

Whether this latest entry can match the series high of No Way Home’s $1.92 billion in global box office remains to be seen. But it should give fans what they want, which is a good start. And though Holland has not yet confirmed his intention to continue in the role, a cute post-credits tease involving an app invented by Ned gives credence to the closing text card: “Spider-Man will return.” Besides, Brand New Day hardly sounds like a farewell.

The first trailer for the much-anticipated big screen adaptation of Tomi Adeyemi‘s bestselling novel Children of Blood and Bone has been revealed, and in it we get a proper look at the all-star cast in the Africa-set fantasy drama.

Gina Prince-Bythewood‘s film stars a veritable Who’s Who of Black British and American actors including Idris Elba, Cynthia Erivo, Chiwetel Ejiofor, Regina King, Damson Idris, Lashana Lynch, Amandla Stenberg, Tosin Cole, Viola Davis and the lead of the film, South African actress Thuso Mbedu.

Children of Blood and Bone is based on Nigerian-American writer Adeyemi’s 2018 debut novel, and the first book in her Legacy of Orïsha trilogy, which became a The New York Times bestseller. Set in an alternate history pre-colonial West Africa, the book follows the story of Zélie Adebola (Mbedu) as she attempts to restore magic to the kingdom of Orïsha, following brutal oppresion by the cruel and ruthless King Saran (Ejiofor).

In the clip, set to excerpts of Beyonce’s 2022 song “Energy,” we see Mbedu’s Zélie come-of-age to bring magic back to Orïsha, as she evades Saran’s forces. We also see lavish costumes, gorgeous location visuals and fights scenes very reminiscent of Ryan Coogler’s Black Panther films and Prince-Bythewood’s own critically-acclaimed 2022 historical action film The Woman King, which also starred Mbedu, Davis and Lynch.

Adeyemi co-wrote the screenplay with Prince-Bythewood but has recently distanced herself from the film adaptation. Earlier this month, Adeyemi took to social media to address why she wasn’t promoting the film version, revealing that she had distanced herself from the adaptation. In a TikTok video, Adeyemi included a screenshot of her message to unidentified recipients that read, “There is a reason I will not post anything about the adaptation of my work. That’s all.”

The video also included a screenshot of an apparent message that she sent to Stenberg, who plays Princess Amari in the movie. Adeyemi’s message read, “Do not ever use my name in an interview or video again. Do not text me. Do not call me.” The image suggested that Adeyemi had blocked the actress.

Children of Blood and Bone hits theaters on Jan. 15, 2027.