Joshua Jackson, Jodie Turner-Smith settle divorce after 18-month struggle
Joshua Jackson and Jodie Turner-Smith have settled their contentious divorce, more than a year and a half after the 'Queen & Slim' actress first filed.
The actors, who met at Jackson's 2018 birthday bash and married the next year, finally reached a settlement, according to new legal documents obtained Saturday by TMZ.
The 46-year-old 'Doctor Odyssey' star and Turner-Smith, 38, settled on a lump sum, agreeing he will pay $2,787 in monthly child support and no spousal support, according to the outlet.
Although a mediator helped them agree on a temporary schedule for joint custody of daughter Juno, 5, the exes have yet to agree on where the little girl will go to school — but the 'Agency' star has a location in mind and has ensured its proximity to Jackson.
Turner-Smith hopes a judge will give her the ability to select a school, even as Jackson refuses to sign off — and that Jackson will pay $75,000 for her attorney's fees regarding the matter.
Just before last Christmas, Turner-Smith claimed Jackson owed her $8,543 per month in back child support and $28,641 per month in back spousal support, after he allegedly bailed on more than a year's worth of child and spousal support payments since her divorce filing. At the time, she was seeking $250,000 from Jackson in legal fees, in addition to fees for her forensic accountant, who was charged with ferreting out financial misconduct and irregularities.
Jackson, she claimed, 'ensured me that I would not have to worry about financial security for our daughter if we ever separated because he said he understood how difficult life can be as a Black woman and a single mother.'
The former couple secretly tied the knot in December 2019. They didn't have a prenup in place when, in early fall 2023, famed divorce attorney Laura Wasser filed Turner-Smith's divorce docs, citing irreconcilable differences. They reached a custody agreement in November 2023.
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New York Post
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Review: ‘She Who Dared' lovingly fact-checks civil rights history
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The opera's principals further represent the nuance of the movement in Montgomery. Susie McDonald (mezzo-soprano Leah Dexter) is a wealthy, white-passing widow; she was in her 70s at the time she was arrested. We follow Jeanetta Reese (mezzo-soprano Cierra Byrd) — an original plaintiff in Browder v. Gayle, the resulting 1956 Supreme Court ruling striking down segregation on public transportation — as she decides, agonizingly, to withdraw from the case, representing those who stepped away from activism out of fear for their lives. 'She Who Dared' is already strong, but it's further vaulted by COT's strong cast. Habersham's explosive, easily combustible soprano captures Colvin's fire. Like Parks herself, Echols is a master of reserve and release, stoking her big Act 2 aria like a slow burn. As McDonald, Dexter is pointed and iridescent. 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Whether crackling with humor or invoking prayer, Mouton's text says what it means — not a subtle libretto, but one which drives the action forward well. In a marked improvement over October's 'Leonora,' 'She Who Dared's' set, designed by Junghyun Georgia Lee, was a stirring example of minimalism done right. Its centerpiece is a faithful rendering of a 1950s Montgomery bus, rotated by stagehands dressed as repairmen. Likewise, Yvonne L. Miranda's costuming embraces the show's scale, rather than working against it. In some scenes, characters donned just one extra piece of clothing to temporarily step into another role: a suit jacket to turn Robinson into Fred Gray, the boycotters' attorney, or a hat, shades and nightstick to turn Reese into a Montgomery city cop. It gave the opera the feel of reminiscing among friends — an appealing and deft way to handle historical retelling. Timothy Douglas's insightful direction supported this reading, squeezing as much characterization as possible out of the seven principals while keeping the action buoyant. The opera needs some TLC to land its ending. 'She Who Dared' loses its narrative drive in the final two scenes, defaulting to platitudes ('We brought a movement to Montgomery!') and cloying tunes. After reenacting the initial district court trial — in which Colvin, Browder, McDonald and Smith testified—the opera skims over the Supreme Court decision upholding the ruling. But it was that court which ended the boycott and desegregated public transit systems nationwide, not the district courts. (Plus, the appeal process alone almost doubled the length of the boycott — a significant sacrifice by the protestors.) That ending also evaded a darker coda to the bus boycotts, acknowledged in the show's comprehensive program notes: Black commuters faced vicious harassment once they resumed riding city buses. 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'We've already received the money,' he told the audience, 'and, as I've said before, they're not getting it back.' Hannah Edgar is a freelance critic. Review: 'She Who Dared' (3.5 stars) When: Through June 8 Where: Studebaker Theater in the Fine Arts Building, 410 S. Michigan Ave. Tickets: $60-$160 at
