The 79th Tony Awards return to Radio City Music Hall on Sunday to celebrate the best of Broadway. Pop-star Pink hosts the show for the first time, and while she hasn’t been on Broadway yet herself, her songs have been featured in the musicals “Moulin Rouge!” and “& Juliet.”
The broadcast airs air live beginning at 5 p.m. on CBS and Paramount+, but don’t sleep on the annual pre-show, “The Tony Awards: Act One,” where the first round of Tonys will be presented. It will stream live on free service Pluto TV starting at 3:35 p.m. and be hosted by Tony Award nominee Laura Benanti and actor Tituss Burgess.
Arthur Miller’s “Death of a Salesman” Gina Gionfriddo, “Becky Shaw” Duncan Macmillan and Jonny Donahoe, “Every Brilliant Thing” “Fallen Angels” Robert Icke, “Oedipus”
Performance by an actress in a leading role in a musical
Sara Chase, “Schmigadoon!” Stephanie Hsu, “The Rocky Horror Show” Caissie Levy, “Ragtime” Marla Mindelle, “Titaníque” Christiani Pitts, “Two Strangers (Carry a Cake Across New York)”
Performance by an actor in a leading role in a musical
Nicholas Christopher, “Chess” Luke Evans, “The Rocky Horror Show” Joshua Henry, “Ragtime” Sam Tutty, “Two Strangers (Carry a Cake Across New York)” Brandon Uranowitz, “Ragtime”
Performance by an actress in a leading role in a play
Performance by an actor in a leading role in a play
Will Harrison, “Punch” Nathan Lane, “Death of a Salesman” John Lithgow, “Giant” Daniel Radcliffe, “Every Brilliant Thing” Mark Strong, “Oedipus”
Book of a musical
David Hornsby and Chris Hoch, “The Lost Boys” Cinco Paul, “Schmigadoon!” Marla Mindelle, Constantine Rousouli and Tye Blue, “Titaníque” Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”
Original score
Music: Caroline Shaw, “Death of a Salesman” Music: Steve Bargonetti, “Joe Turner’s Come and Gone” Music and lyrics: The Rescues, “The Lost Boys” Music and lyrics: Cinco Paul, “Schmigadoon!” Music and lyrics: Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”
Performance by an actor in a featured role in a play
Christopher Abbott, “Death of a Salesman” Danny Burstein, “Marjorie Prime” Brandon J. Dirden, “Waiting for Godot” Alden Ehrenreich, “Becky Shaw” Ruben Santiago-Hudson, “Joe Turner’s Come and Gone” Richard Thomas, “The Balusters”
Performance by an actress in a featured role in a play
Betsy Aidem, “Liberation” Marylouise Burke, “The Balusters” Aya Cash, “Giant” Laurie Metcalf, “Death of a Salesman” June Squibb, “Marjorie Prime”
Performance by an actor in a featured role in a musical
Ali Louis Bourzgui, “The Lost Boys” André De Shields, “Cats: The Jellicle Ball” Bryce Pinkham, “Chess” Ben Levi Ross, “Ragtime” Layton Williams, “Titaníque”
Performance by an actress in a featured role in a musical
Shoshana Bean, “The Lost Boys” Hannah Cruz, “Chess” Rachel Dratch, “The Rocky Horror Show” Ana Gasteyer, “Schmigadoon!” Nichelle Lewis, “Ragtime”
Scenic design of a play
Hildegard Bechtler, “Oedipus” Takeshi Kata, “Bug” David Korins, “Dog Day Afternoon” Chloe Lamford, “Death of a Salesman” David Rockwell, “Fallen Angels”
Scenic design of a musical
dots, “The Rocky Horror Show” Soutra Gilmour, “Two Strangers (Carry a Cake Across New York)” Rachel Hauck, “Cats: The Jellicle Ball” Dane Laffrey, “The Lost Boys” Scott Pask, “Schmigadoon!”
Costume design of a play
Brenda Abbandandolo, “Dog Day Afternoon” Qween Jean, “Liberation” Jeff Mahshie, “Fallen Angels” Emilio Sosa, “The Balusters” Paul Tazewell, “Joe Turner’s Come and Gone”
Costume design of a musical
Linda Cho, “Ragtime” Linda Cho, “Schmigadoon!” Qween Jean, “Cats: The Jellicle Ball” Ryan Park, “The Lost Boys” David I. Reynoso, “The Rocky Horror Show”
Lighting design of a play
Isabella Byrd, “Dog Day Afternoon” Natasha Chivers, “Oedipus” Stacey Derosier, “Joe Turner’s Come and Gone” Heather Gilbert, “Bug” Heather Gilbert, “The Fear of 13” Jack Knowles, “Death of a Salesman”
Lighting design of a musical
Kevin Adams, “Chess” Jane Cox, “The Rocky Horror Show” Donald Holder, “Schmigadoon!” Adam Honoré, “Cats: The Jellicle Ball” Adam Honoré and Donald Holder with 59 Studio, “Ragtime” Jen Schriever and Michael Arden, “The Lost Boys”
Sound design of a play
Justin Ellington, “Joe Turner’s Come and Gone” Tom Gibbons, “Oedipus” Lee Kinney, “The Fear of 13” Josh Schmidt, “Bug” Mikaal Sulaiman, “Death of a Salesman”
Sound design of a musical
Kai Harada, “Cats: The Jellicle Ball” Kai Harada, “Ragtime” Adam Fisher, “The Lost Boys” Brian Ronan, “The Rocky Horror Show” Walter Trarbach, “Schmigadoon!”
Direction of a play
Nicholas Hytner, “Giant” Robert Icke, “Oedipus” Kenny Leon, “The Balusters” Joe Mantello, “Death of A Salesman” Whitney White, “Liberation”
Direction of a musical
Michael Arden, “The Lost Boys” Lear deBessonet, “Ragtime” Christopher Gattelli, “Schmigadoon!” Tim Jackson, “Two Strangers (Carry a Cake Across New York)” Zhailon Levingston and Bill Rauch, “Cats: The Jellicle Ball”
Choreography
Christopher Gattelli, “Schmigadoon!” Ellenore Scott, “Ragtime” Ani Taj, “The Rocky Horror Show” Omari Wiles and Arturo Lyons, “Cats: The Jellicle Ball” Lauren Yalango-Grant and Christopher Cree Grant, “The Lost Boys”
Orchestrations
Doug Besterman and Mike Morris, “Schmigadoon!” Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, “The Lost Boys” Lux Pyramid, “Two Strangers (Carry a Cake Across New York)” Brian Usifer, “Chess” Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, “Cats: The Jellicle Ball”
It’s Broadway’s time to shine Sunday when the 79th Tony Awards take New York City.
Broadcast live from Radio City Music Hall, the night promises plenty of onstage drama and hopefully some real-life intrigue. The number of new Broadway productions this year — 30 — shrunk from last year’s 42, but there are still some standout shows and performances to watch out for, from flashy revivals like “Cats: The Jellicle Ball” to Laurie Metcalf’s stunning turns in both “Death of a Salesman” and “Little Bear Ridge Road.”
Grammy Award winner Pink is hosting for the first time, and though the pop star lacks direct Broadway roots, her songs have been featured in the jukebox musicals “Moulin Rouge!” and “& Juliet.”
Here’s everything else you should know about this year’s ceremony, including how to tune in.
How can I watch?
The three-hour awards ceremony will air live on CBS on Sunday at 5 p.m. Paramount+ premium-level subscribers can also stream it on the app, while those with other membership tiers can watch the show on-demand after it airs.
The annual pre-show, “The Tony Awards: Act One,” will stream live on free service Pluto TV at 3:35 p.m. that same day. It is hosted by Tony Award nominee Laura Benanti and actor Tituss Burgess and includes the first round of Tony Award presentations.
Who is performing?
This year’s opening number, a show-stopping Tonys tradition, will feature more than 170 Broadway performers. It’s choreographed by Sarah O’Gleby and written by Benj Pasek, Justin Paul and Mark Sonnenblick.
As always, casts from the productions nominated for best musical — “The Lost Boys,” “Schmigadoon!,” “Titaníque” and “Two Strangers (Carry a Cake Across New York)” — and for best revival of a musical — “Cats: The Jellicle Ball,” “Ragtime” and Richard O’Brien’s “The Rocky Horror Show” — will perform during the ceremony.
Rachel Zegler will pay tribute to “A Chorus Line” and Tony Award winner Leslie Odom Jr. will perform “Without You” from “Rent” to honor the show’s 30th anniversary as well as those in the theater community who have died this year.
The “Chicago” revival will also celebrate its 30th anniversary on Broadway with a performance from stars including Queen Latifah, who was nominated for an Academy Award for her portrayal of Matron Mama Morton in the show’s 2002 film adaptation, and Tony Awards host Pink. The entire original cast of “The Book of Mormon,” including Tony Award nominees Josh Gad, Andrew Rannells and Rory O’Malley and Tony winner Nikki M. James, will also perform in celebration of the show’s 15th anniversary on Broadway.
Who is presenting?
Notable stars of stage, screen and music presenting awards include Grammy Award winner Megan Thee Stallion, who made her Broadway debut this year in “Moulin Rouge!”; Nicole Scherzinger, who won a Tony last year for her performance in the revival of “Sunset Boulevard”; and Academy Award winner Adrien Brody.
You can find the star-studded presenter lineup here.
What is nominated?
“Schmigadoon!” and “The Lost Boys,” both nominated for best musical, lead the pack with 12 nominations each going into Sunday’s awards ceremony. The “Ragtime” revival trails with 11 nominations, and lauded revivals “Death of a Salesman,” “Cats: The Jellicle Ball” and “The Rocky Horror Show” are each nominated for nine awards.
Mindy Kaling was in her early 30s when the first TV series she created, “The Mindy Project,” made its debut and set in motion her attempt at forging an identity as a prolific multi-hyphenate after “The Office,” where she was a writer and cast member for eight seasons. But if you ask her to reflect on that time of her life, she says, it’s a bit of a blur.
As she explained recently, “I remember it, but not all that distinctly. It was such a grind — waking up at 6 a.m. to be on camera, wrapping late. And I did that for 117 episodes.”
But ask her about her 20s, when she was living in New York City and trying to figure out how she could break into the industry as a comedy writer? “I remember incredibly vividly,” she says. “I’m like, did I feel things more intensely back then? I’m not sure. But that period of time … there was just so many highs and lows. And it felt cinematic to me.”
So she made a TV show about it.
Premiering Tuesday with three episodes, “Not Suitable for Work” follows five ambitious 20-somethings living in Manhattan who are navigating the early stages of their careers while trying to have a semblance of a life and the heightened emotions they experience during this period. Kaling calls it the third chapter in her semi-autobiographical TV trilogy, which includes “Never Have I Ever,” about a first-generation Indian American teenager coping with her father’s death while trying to be popular (or at least not super uncool), and “The Sex Lives of College Girls,” about four young women who dorm together and boldly maneuver their new, uninhibited lives on campus.
In the new Hulu series, viewers are introduced to AJ Pascarelli (Ella Hunt), a hard-working and disciplined young woman who moves to town to start a high-pressure finance job, and her roommate Abhinaya “Abby” Chilukuri (Avantika), a savvy and fashion-obsessed assistant to a celebrity stylist. They live across the hall from Josh Teitelbaum (Jack Martin), an idealistic nepo baby of a media titan — he’ll lean into his privilege when it suits him while also trying to distance himself from it — with ambitions of making it in journalism. His two roommates are Kel Washington (Nicholas Duvernay), an insecure but earnest med student who would rather be acting, and Davis Beau Bradley Barrett III (Will Angus), a high-energy, bumbling financial analyst who works at the same corporate firm as AJ and is an undercover hopeless romantic. As one might expect, there are some messy entanglements within and outside the group.
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1.Abby (Avantika), left, and AJ (Ella Hunt) move in together.2.Across the hall live Davis (Will Angus), left, Josh (Jack Martin) and Kel (Nicholas Duvernay).(Gwen Capistran / Disney)
“I hope that young people will respond to the show, “ Kaling says. “We did so much research in it because at a certain point it is funny — I’m in my 40s, and I am often like, ‘I wonder if young people are suspicious about why I’m so obsessed with writing shows about young people.’”
So, why is she?
“Because I find it almost impossible to reflect on the current time I’m in,” she says. “It would be too painful to be too introspective about the time that I’m in. I need a real sense of distance to look back on it, especially since having kids. Once you have kids, it triggers these memories of your own childhood.”
Over video call from New York City, Kaling reflected on the series and her early years of trying to make it. These are edited excerpts from the conversation.
How did you land on the professions that your characters would be pursuing and what did you want to say about ambition at this stage of life?
I love people who have big wants, and sometimes the audience is like, “Maybe you want the wrong thing” and they [the characters] don’t quite know that yet. I love writing about the underdog. And with their particular professions, they’re all things that I had some interest in researching. I’ve always been fascinated by investment bankers. I went to Dartmouth, so I have a lot of friends who went into that, and I swear I’ve had my friends explain their job so many times to me, and I still didn’t totally understand it. We were lucky; a very famous investment bank very generously offered to let me come for a day and meet with young bankers. I also … write about the children of immigrants. I’m very, very interested in that story, and so we got to research what it’s like being the child of Nigerian immigrants. But every single character has a journey, or there’s an aspect of them that I feel like I really relate to, and that is in almost all my shows.
What was it like observing young people in the investment banking world?
They were wary — because they’re smart — of someone from Hollywood coming in to document what they were doing and asking questions. It helped that a lot of the guys liked “The Office” and a lot of the women liked “The Mindy Project” and “Sex Lives of College Girls” because they’re all kind of young. I think that made them trust me a little bit more. For the AJ and Davis characters, so much of what I researched when I was there fed into their plot line … almost all the characters have a boss they fear and idolize, and the way that first-year bankers feel about their managing directors is not dissimilar to the way I felt about Greg Daniels when I started at “The Office.” And the hours are actually not dissimilar.
There’s a moment early on where Jay Ellis’ character, Bill, who is a managing director at this fictional investment banking firm, is asked about work-life balance. I’m curious how you thought about that at the start of your career versus now.
I didn’t care at all about anything except my job for 16 years. It was my entire personality and purpose. When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows. There was no balance. I didn’t want balance. I wanted to live and breathe comedy writing for my entire life. I hated the weekends, actually. And who wouldn’t? I was a friendless transplant in Los Angeles and I just wanted to get back to working at “The Office.” Every year I was there, I got more ambitious and I wanted to go off and create my own show and have a bigger part as an actor and everything.
It wasn’t until after I did that on “The Mindy Project” … that I just felt like, “OK, I get this. I want to now try being a mom.” Once I had my daughter, Katherine [at 37], it wasn’t that the balance changed, it was my first real, legitimate interest outside of work — that I cared about more than work.
“When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows,” Kaling says. “There was no balance. I didn’t want balance.”
(Ebru Yildiz / For The Times)
After college, you moved to Brooklyn with two Dartmouth friends to pursue a career in comedy. You eventually got a full-time job as a production assistant on “Crossing Over with John Edward,” a program where people would receive psychic readings. Tell me about that time in your life.
I remember feeling like I had no access and that I didn’t have any place to put my ambition. It was so far away from anything I wanted to do — scripted comedy and reality television could not be further apart. It was a fascinating time because there were such highs and lows. There was the excitement of new crushes and having fun in a new city with two friends, but there was also the crushing disappointment of feeling like I was never gonna make it. I didn’t even have a path forward to making it, but I was lucky, because I lived with my two best friends. We would go to open mic nights, and we would go to restaurant week and see how the rich people in Manhattan were living. We would take the subway uptown to Central Park and walk along Fifth Avenue and like look at these amazing homes and just dream what it was like to be like a wealthy New Yorker who could buy everything that they read about on DailyCandy — now I’m really dating myself here, back when DailyCandy was a thing. But that’s what it was like, I just I felt a lot of extreme emotions.
How did you approach that job?
My boss was a producer and would approach the families and get their information, and then we would have to do research on them, but it was mostly because they would do a little clip package on the different families. I had to get them to sign releases to be on the show and get photographs of their deceased [loved ones] and them. I actually thought it was pretty interesting work. It just had nothing to do with comedy writing, and that job was not clearly going to lead anywhere toward comedy writing, and I came to New York because of “Saturday Night Live.” When I was working there is when my friend Brenda [Withers] … and I started writing this play “Matt & Ben” [a satirical play that imagines the story of Matt Damon and Ben Affleck before “Good Will Hunting” made them famous] in the time we had off. We started writing it, then I got that job as a PA, then the show went up at the Fringe Festival, and then it was going to go off off Broadway, and when it went off-off-Broadway, and I had a steady income, that’s when I quit my job there. I was only at “Crossing Over” for three or so months.
Greg Daniels attended a performance of “Matt & Ben” and it’s what led to you getting on “The Office” at 24.What was that first meeting like?
Back then, because the internet was so different, when I looked up Greg, besides his credits, you couldn’t find a lot of biographical information about him, or even a photo. I don’t think I even knew what he looked like. When I met him, I don’t think I had seen the British “Office” yet; I wasn’t cool. At that time, I had put so much pressure on this job. I only had two interviews — it was this and there was a show that ended up getting canceled while I was waiting to meet the showrunner. It was a pilot called “Nevermind Nirvana,” about an Indian man who married a white woman, and Ajay Sahgal was the writer. I was like, “Oh my God, if anyone is going to get hired to work on the show, it has to be me.” I was pretty excited about that meeting, but when I was sitting in the waiting room at the production offices to meet with Ajay, they told them they weren’t going to pick up the pilot, so I never even got to meet him, and they just told me I could leave.
I’d only had that interview, and then I met with Greg. This is my memory: it was a high-rise building in Century City, in the offices of “King of the Hill,” so there was a lot of like “King of the Hill” cutouts and stuff there. And he’s just a very thoughtful, quiet guy who doesn’t push conversation … I’m someone who’s pathologically chatty, and so talking to Greg, who is completely fine with there being pauses in conversation, and is just a confident grown-up, it was incredibly intimidating. I was very stressed out in our meeting, but I also was blown away by him.
That first season, you were also the only female writer on staff and the youngest —
B.J.[Novak] is a month younger than me. I want to correct that because he’ll read this and go, “Hey … !”
How did that play into how you felt in the room?
I haven’t really ever had imposter syndrome. And this is my probably my personality defect — I felt that even if I hadn’t seen anyone like me in these roles, that I was just going to be the first one, and I was going to work really hard and prove it to them. The staff was super competitive, but they were smart feminist guys. It was hierarchical and stressful, but it was not because of my fellow writers, except that I wanted to impress them. I felt nervous because I wanted to be contributing, but I don’t know why — I just loved the pilot so much that Greg had made, and I loved these characters, and this world — I was like, I can’t possibly lose my job, I love it too much. Which is probably really stupid, I didn’t ever think there’s a possibility that I could get fired here.
Phyllis (Phyllis Smith), Kelly (Mindy Kaling), Dwight (Rainn Wilson) and Michael (Steve Carell) in a scene from Season 2 of “The Office.”
(Paul Drinkwater / NBCUniversal via Getty Images)
We see how AJ wants to impress the boss and takes on more than she can chew and screws up some data before a big presentation. What was that first big mistake or misstep that you made in those early years that you still think about?
I remember Season 2 — because I just wanted to prove to Greg and to the cast and to the director, the cinematographer, and everyone that I was super invested — we were shooting “The Dundies” [episode]. I was an actor on the show as well, but I wasn’t acting in this scene, but it was my episode [that I wrote], and in between takes, John [Krasinski, who played Jim Halpert] and Jenna [Fischer, who played Pam Beesly] were just on set, and I remember going up to them and being like, “Guys, that take was so great!” And I walked away. Greg came up to me and was like, “You know, we really should let just the director talk to the cast between takes.” Greg, he’s my mentor, but he definitely, over the course of the eight years I lived there, had corrected me many times, as he should have, but that was one of the first times. I remember I was so embarrassed, but I didn’t understand it’s not the role of a story editor to be giving feedback to the cast between takes on a show.
The bosses on the show all have different styles and expectations that may seem demanding or annoying on the surface. How do they reflect where you’re at now?
No one trains you on how to be a good boss. And bad bosses are so prevalent. The entire premise of “The Office” hinges on this funny concept that terrible bosses exist. It wasn’t until I was on “The Mindy Project” that I was the employer for the first time. Every single year of that show, it was a battle getting a new season. One of the challenges of being a good boss is being able to put aside those personal, professional battles you’re fighting … but then also realizing that you’re a mentor to other people, and you have to start thinking about things that you never thought you needed to — overtime, maternity leave, respect in the workplace, the things that make the workplace enjoyable for everyone else who’s there working for you. And it’s not like that comes naturally.
The double blessing of having a good boss, which I did in Greg Daniels and Howard Klein [an executive producer on “The Office”], is that they modeled that for me. Even though I could not be more different than Greg. Even to this day, I’m realizing I have all the unique challenges of being a single mom, being the creator of these shows with crews and casts, but then also being able to be empathetic for all the people that work for me and making sure I make time to listen to them when they want to talk to me about an issue that they’re having; it’s a continual challenge that I’m hoping I’m getting better and better at [managing].
When Bill is asked about work-life balance, he’s also asked if he has inspirational words to impart. It’s very much about overworking and being productive. How do you tackle the question today?
I used to say “you have to write your own part.” And everyone would get annoyed because they’re like, “I’m not a writer.” I’ve had to really think about the question so I could be helpful. We all want a linear path to success. And if my career has taught me anything, it’s that the linear path just was not how I got my job. You know when you go on Google Maps and it shows you all the different paths — the fastest, one path with the toll road and one path that’s going to take seven minutes longer. I’ve only ever taken the one that’s seven minutes longer, or the toll; it’s never been the easy way. The sooner I got used to that, the better.
Before I let you go, in the show, one of the celebrity clients Abby is dealing with is Austin Blanchett, Cate Blanchett’s fictional nephew. Was it always going to be Cate? What other celebs were in the running?
It was Cate Blanchett’s nephew before we had Harry Richardson. When I worked on “Ocean’s Eight,” one of the biggest surprises on it was that Cate Blanchett was incredibly funny and did not take herself seriously at all. I suspect if anyone was going to think it was funny that in this fictional world of the show she had this useless nepo nephew that she had to help get jobs, it would be Cate. I hope she doesn’t sue me. I think she would think it was funny.
Contenders are almost lined up for the 79th Tony Awards.
Tony nominee Uzo Aduba and Tony winner Darren Criss on Tuesday morning will announce the nominees live on CBS and YouTube. Nominated productions included “The Lost Boys” and “The Balusters,” with Rose Byrne (“Fallen Angels”) and John Lithgow (“Giant”) earning acting nods.
Other headline nominees included John Lithgow (“Giant”), Lesley Manville (“Oedipus”), Nathan Lane (“Death of a Salesman”), Daniel Radcliffe (“Every Brilliant Thing”) and Stephanie Hsu (“The Rocky Horror Show”).
The 79th Tony Awards will return to New York City’s Radio City Music Hall on June 7. The ceremony, hosted by Pink, will air live on CBS and stream on Paramount+.
Here is the complete list of nominees. (This story is being updated.)
Performance by an actress in a leading role in a musical
Sara Chase, “Schmigadoon!” Stephanie Hsu, “The Rocky Horror Show” Caissie Levy, “Ragtime” Marla Mindelle, “Titaníque” Christiani Pitts, “Two Strangers (Carry a Cake Across New York)”
Performance by an actor in a leading role in a musical
Nicholas Christopher, “Chess” Luke Evans, “The Rocky Horror Show” Joshua Henry, “Ragtime” Sam Tutty, “Two Strangers (Carry a Cake Across New York)” Brandon Uranowitz, “Ragtime”
Performance by an actress in a leading role in a play
The stars of “The Devil Wears Prada 2” thrilled us with their bold fashion choices at the film’s world premiere in New York City on Monday night, the most recent stop in a press tour that began at the end of March. Meryl Streep, Anne Hathaway and Emily Blunt brought their A game, embracing method dressing without going overboard. Even Miranda Priestly would be proud.
While the film dons Prada’s name, Schiaparelli was among the go-to designers for the promo tour. From custom numbers to archival pieces, cast members, new and old, impressed in gowns that deserved center spreads in Runway. And there were no florals in sight.
Anne Hathaway attends “The Devil Wears Prada 2” world premiere in New York.
(Evan Agostini / Invision / AP)
During the film’s New York City premiere, Hathaway wore a devilish satin red gown. Designed by Nicolas Ghesquière for Louis Vuitton, Hathaway’s tea-length dress was paired with dazzling jewels from Bulgari.
Lady Gaga attends “The Devil Wears Prada 2” world premiere at Lincoln Center’s David Geffen Hall in New York.
(Evan Agostini / Invision / AP)
Styled by sisters Chloe and Chenelle Delgadillo, Lady Gaga donned a black Saint Laurent gown from the fashion house’s fall 2016 collection. But Gaga really turned heads with her sparkling 7-carat earrings designed by Tiffany & Co.
Gaga has a cameo in the film, which director David Frankel told Vanity Fair was the “the worst-kept secret in showbiz.” The entertainer also wrote and recorded “Runway” with rapper Doechii for the sequel’s soundtrack.
Meryl Streep attends “The Devil Wears Prada 2” premiere on Monday.
(Evan Agostini / Invision / AP)
Streep paired her statement sunglasses with a Givenchy by Sarah Burton caped dress at the film’s New York City premiere. The sweeping red dress included elegant black gloves that matched her Stuart Weitzman heels.
Emily Blunt attends “The Devil Wears Prada 2” world premiere in New York.
(Evan Agostini / Invision / AP)
Emily Blunt wore a dress from the Schiaparelli spring 2026 line. The dress’ structured bodice gave way into tulle skirt, with the fabric’s warm tone contrasting Blunt’s dark red lip. The bustier was covered in 25,000 silk thread feathers, which required roughly 4,000 hours of work.
Simone Ashley attends “The Devil Wears Prada 2” world premiere at David Geffen Hall in New York.
(Evan Agostini / Invision / AP)
“Bridgerton” star Simone Ashley made her “Devil Wears Prada” debut in a vintage high-low Prada dress. Styled by Rebecca Corbin-Murray, she paired the chartreuse dress with marching diamonds. Ashley plays Amari Mari, Miranda’s first assistant in the film.
Meryl Streep promotes “The Devil Wears Prada 2” in Seoul.
(Ahn Young-joon / AP)
Streep wore a custom Prada power suit and David Yurman jewels while promoting the film in Seoul.
Anne Hathaway on the red carpet to promote “The Devil Wears Prada 2” in Seoul.
(Ahn Young-joon / AP)
During the film’s premiere in Seoul, Hathaway donned a red leather Balenciaga number. Dressed by stylist Erin Walsh, the oversize jacket contrasted with her pencil skirt, and the look was tied together with Hathaway’s sleek ponytail.
Meryl Streep attends the “The Devil Wears Prada 2” premiere at Anahuacalli Museum in Mexico City.
(Angel Delgado / Getty Images for Disney)
During the press tour’s kickoff in Mexico City, Streep — styled by Micaela Erlanger — donned a long, belted navy blue Schiaparelli dress.
Anne Hathaway promotes “The Devil Wears Prada 2” on “The Late Show With Stephen Colbert.”
(Scott Kowalchyk / CBS)
For an appearance on “The Late Show With Stephen Colbert,” Hathaway wore vintage Versace.
