On August 5, 2026, the show that saved Apple TV is finally returning after a three-year hiatus. Everyone’s favorite therapy-turned-television Ted Lasso, starring Jason Sudeikis as the titular optimist soccer coach, makes its big return after originally concluding a planned three-season arc. However, so popular is the series that it continues to hold its place on the streaming charts, and a return felt inevitable. Ted and Coach Beard (Brendan Hunt) will begin their journey as coaches of a new women’s division at AFC Richmond in the fourth season, and the men’s team will hunt for glory once again under the new managerial tutelage of Roy Kent (Brett Goldstein).
Arguably the most famous fictional sports story of the 21st century, the rise of Ted Lasso has been well-documented, helping keep Apple TV afloat and establishing them as a major player in the streaming wars. But it has also helped put eyes on other, lesser-spotted sports stories, such as one starring the ever-suave George Clooney. Also starring The Office‘s John Krasinski and two-time Academy Award winner Renée Zellweger — and boasting one of the finest scores in Randy Newman‘s career — the 2008 rom-com Leatherheads is somewhat of an undiscovered gem in the sports genre.
Only the third film in Clooney’s directorial career, the film earned mixed reviews from both critics and audiences upon arrival, illustrated in a 53% average rating on review aggregator Rotten Tomatoes. One critic scathingly called the film “a slovenly, timid, strenuously studied movie that takes forever to get nowhere, uninterestingly,” whereas another said that the film is “so successful at reviving the screwball comedy that you’re prepared to forgive it some flaws.” If you’re looking to make up your own mind about the film, you’re in luck, as Leatherheads will become officially available to stream on Netflix starting July 1.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Was ‘Leatherheads’ a Box Office Hit?
Two men and a woman sit in a 1920s restaurant booth peering over their shoulders.Image via Universal Pictures
Sadly, Leatherheads was unable to counteract its mediocre reception with box office success, despite releasing at the peak of Krasinski’s Office fame and starring the ever-popular Clooney. The film couldn’t even return its reported production budget of $58 million, scoring a global haul of $41.3 million, split between $31.3 million in domestic revenue and a further $10 million from overseas markets. When the film opened in April 2008, it faced competition from the likes of Nim’s Island, the crime thriller 21, and Horton Hears a Who.
Leatherheads is streaming on Netflix this July. Stay tuned to Collider for more streaming stories.
