Sydney

SYDNEY Sweeney looked sensational as she stripped off to cut away lingerie in a sizzling new video. 

The actress, 28, put on an eye-popping display while showing off the latest drop from her lingerie brand SYRN.

In the steamy clip, Euphoria star Sydney was seen shrugging off a fur coat while looking out over a balcony.  

Leaving almost nothing to the imagination in the daring lingerie, Sydney posed up a storm as she showed off her incredible figure. 

Sharing the clip on Instagram, she simply captioned the post: “Did you get your @syrn yet?”

Fans rushed to comment, with one writing: “Jaw on the floor.”

SEXY SYDNEY

Sydney Sweeney almost bursts out of low cut top as she models underwear range

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Another said: “The most prettiest girl in the world.”

And a third joked: “You should not be allowed to post this.”

Sydney recently defended stripping off to play her Euphoria character Cassie in the latest season of the HBO hit. 

Creator of the show Sam Levinson thought it needed to be toned down, whereas Sydney did not.

“When I first wrote it, I was like, ‘Maybe we shoot all of this, and we don’t have any nudity. Maybe there’s ways to shoot around certain things?’” he told the New York Times.

“Are you kidding?” Sydney reportedly told him.

“I’m playing an OnlyFans model. You’re telling me you’re going to, like, skirt around it?”

And not long after the finale aired, she defended sexy scenes with a slew of snaps from the show and a caption that read: “It’s called… acting.”

THE MOST liveable cities in the world have been named – but the UK didn’t make the cut.

Monocle’s Quality of Life Survey has been running for nearly 20 years, looking at a number of factors into what makes a city loved by its locals.

This includes everything from safety and connectivity to green spaces and late night openings.

New this year is ” excitement, urban ambition and security,” when it comes to making a city great.

Sadly, none in the UK made the top 20, with the study citing London missing out as it doesn’t have the “security of certain mature markets“.

What did come out on top was the city of Tokyo in Japan.

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It was praised for both its stability and security, citing its “old-fashioned sense of security”.

It explained: “Young children walk to school unaccompanied by their parents, huge events take place every week without major disorder, and crime rates are consistently low.

“Tokyo should celebrate being such a well-mannered metropolis but its exemplary conduct is never taken for granted.”

However, a number of European cities made the top 20 list.

In second place was Copenhagen, citing its “booming restaurant and sauna scene” as well as its low crime rate and urban cycling schemes.

This was followed by Lisbon in third place, for it’s great public transport and local communities.

Lisbon has even become one of the top expat destinations in the world.

Coming in fourth was Vienna, followed by Sydney in 5th.

Other European entries to make the top 10 include Zurich (6th), Madrid (7th), Paris (8th), Munich (9th) and Oslo (10th).

Stockholm, Barcelona, Milan, Amsterdam and Helsinki all snuck into the top 20.

Should I stay or should I go?

It’s at once a practical and existential question that plagues the two lead chefs in FX’s “The Bear.” He was the emotionally tortured and volatile chef who left behind a rising career in Michelin-starred restaurants to return to Chicago, his hometown, to run his recently deceased brother’s floundering sandwich joint. She was a Culinary Institute of America-trained chef with potential and a steady demeanor seeking mentorship and an opportunity to work with a prodigy. Together, Carmen “Carmy” Berzatto and Sydney “Syd” Adamu — played by Jeremy Allen White and Ayo Edebiri, respectively — transformed the Original Beef of Chicagoland from a hole-in-the-wall into the titular fine-dining establishment.

But now their partnership in the kitchen has come to an end.

Created by Christopher Storer, “The Bear’s” fifth and final season picks up the morning after Syd, Richie (Ebon Moss-Bachrach) and Nat (Abby Elliott) learn Carmy is quitting the food industry and leaving the restaurant in their hands at a make-or-break moment. And the pressure mounts for Syd to decide if she’ll jump ship to pursue another opportunity. The eight-episode season, now streaming in full on Hulu, largely stretches across one day as the restaurant’s debts accumulate, suppliers cut them off and an unrelenting storm floods the kitchen and threatens to upend a night of service the chefs desperately need to have one last shot at survival and one last performance as a team to deliver an improbable turnaround.

In some ways, it’s a journey that mirrors the actors’ own trajectories. Before “The Bear” became a runaway hit, White was best known for his role on Showtime’s long-running dark comedy “Shameless,” while Edebiri primarily worked as a stand-up comedian and writer. Just as their characters have evolved and gained electric momentum in their careers, so have the actors. Both garnered Emmy Awards for their performances on “The Bear,” and they have added a multitude of film and TV credits to their résumés since. Edebiri is currently starring opposite Don Cheadle in the revival of “Proof,” her Broadway debut, while White will be starring this fall as an investigative reporter in Aaron Sorkin’s “The Social Reckoning,” a companion piece to “The Social Network” that chronicles Facebook’s whistleblower scandal.

Over separate video calls from New York, Edebiri and White reflected on “The Bear’s” conclusion and what it means to leave the characters that supercharged their careers behind. Here are edited excerpts from the conversations.

Ayo Edebiri as Sydney Adamu and Jeremy Allen White as Carmen “Carmy” Berzatto in a scene from Season 5 of “The Bear.”

(FX)

After living inside these characters’ skins for so many years, what’s it like to be done playing them?

Edebiri: They keep saying that we’re done, so I guess that really is the thing of it. Obviously I know that it’s over, but even when we were finishing our first seasons, it didn’t matter how much critical acclaim we got because we’re on a show that’s a part of a network that has a deal with the streaming service — there’s all these things that are continually in flux or that you know that you have no control over. As an actor, you’re used to this state of limbo or not totally knowing or being prepared for an ending, so I think I’m not overwhelmed by it, if that makes sense.

White: I don’t know yet. We were very lucky to understand for a long time when the show was going to end and, to a degree, how the show was going to end. It was difficult to see the direction it went — I have strong feelings about Carmy and where he ends up and how his story might continue on. So much of this season, for Carmy, is about a surrender or acceptance of his place in the world and his place in the kitchen, and it’s the first time he’s really been able to get very honest with himself since we’ve met him. And, in doing so, he chooses to leave, and that was hard for me, for Jeremy. Maybe there’s a world in which he tries this and he comes back. I think I had a different understanding for a while of Carmy’s future. I want him to be happy and healed, but it felt like … I don’t know — imagining him outside of a kitchen was hard for me.

I want to unpack that a little bit more. He wants to be happy. But it was interesting to see him wrestle with how his work hinders that — is it the crutch or the salvation? Did you find yourself having an existential moment as Jeremy taking in what Carmy was wrestling with, or have you reckoned with it before?

White: He threw himself into this work, into this world, pretty young in life. And he was really good at it. But a big part of him burying himself has so much to do with his brother, with his family. I was finishing something too. And, yes, of course, I was thinking of goodbyes, and I was thinking of moving on, and new pursuits and all of these things. I was checking in with myself and what it might feel like to just make such a hard turn in life. I thought a lot about what you get back from your work, but I think ultimately, what Carmy and I don’t share is he was causing so much chaos in his work life; it wasn’t just himself that he was punishing at times. It came down to this surrender to an easier way, a softer way, which was to turn it over to Syd, to turn it over to Richie, to turn it over to Tina in the kitchen — that part, I had an easier time understanding.

“The most beautiful thing about their relationship is their true unconditional belief in one another,” says Allen about Sydney and Carmy in “The Bear.”

(David Urbanke / For The Times)

Syd was facing a crossroads: a shiny new job that could take her to the next level or sticking with this seemingly sinking ship that has taken her to the next level, but where she’s felt unappreciated or stifled at times. Ayo, what did you think of the choice she made?

Edebiri: We’re really fortunate to have such amazing writers who thought about her and her journey. [There’s] an awareness of Sydney’s womanhood and Blackness and youth, but I think [they treated] her with the full dignity of just being a human being and getting able to be a complex character in this show and giving her the dignity of being just as flawed as the other characters. [The choice she made] just made sense to me. It made sense in the architecture of the show. It was gratifying to get to build to that with everybody.

The bulk of this final season has the team dealing with this massive storm that’s created a slew of setbacks at a make–or–break moment for the restaurant. It leads to one final symphony in the kitchen together.

White: Those days were beautiful. So much of our show is shot so quickly, but then we really get to slow down with these choreographed pieces of kitchen ballet, and that’s also when we feel really strong as a group of performers, where we’re incredibly reliant on one another, not just for the emotional beats of a scene, but in this very technical aspect as well. I remember going back to Season 1 and filming Episode 7, “The Review,” which was the single-take episode, and just how much camaraderie came from that, and how much respect came from that for everyone — that feeling of real success that we could do this. It’s a really nice thing that happens sometimes on sets, where there is such a nice mirror of what’s going on with the characters and what’s going on with the cast. In this last push, and this team effort, we want these things as the characters, and we want these things as the cast. We want these people to have what they want, what they deserve, so it was really exciting shooting that last episode or two where all those things are coming into place.

Edebiri: That’s Chris’ thing — it’s like a classical piece of music or something; there’s different movements. His own challenge that he puts on himself, and that, in turn, puts on us, is that we’re still in the same piece of music, but everything just has a different feeling. He’d been talking about it since, low-key, Season 3, but definitely started talking about it a little bit more concertedly when we were filming [Season] 4. It was really starting to take shape in his brain. This challenge of having it be in this one day, and how each episode can feel different, was really exciting to him, so in turn, it became exciting to us.

Were you hoping for more runway to chart what the characters were facing?

Edebiri: No, I think it was cool. I was just like, “Yeah, let’s see what it is.” That’s kind of what everything has been with this show. Part of her emotional journey for the last season, what was on a slower track, in a way, there was something also really fun in having the pressure cooker of one day, and everything getting to ramp up and be quite immediate, which I think has been reminiscent of Seasons 1 and 2 in a fun way.

Tina (Liza Colón-Zayas), left, Sydney (Ayo Edebiri), Richie (Ebon Moss-Bachrach) and Carmy (Jeremy Allen White) in “The Bear.” The restaurant faces multiple setbacks, including a storm that causes damage and dwindling supplies.

(FX)

Carmy and Sydney’s dynamic has been so fundamental to the series. These are two people who see something in each other that the other doesn’t. What do you admire about their relationship as friends and as co–workers?

White: The most beautiful thing about their relationship is their true unconditional belief in one another. They see the beautiful things in one another that the other one is not able to witness in themselves. Even though trust has been tested and trust has been broken at times, there is such a loyalty to the best in themselves. They know that they can rely on one another. In a lot of ways, they saved each other. That piece in the opening episode of Season 3, where Carmy gets the call about Mikey and serves the scallop to Syd without ever having met her — there is this invisible tether that was not witnessed by either of them, but it inspired Syd, and whether Carmy knew it or not, this thing was loved and enjoyed by someone that was birthed from this very traumatic moment. There’s just this beautiful, invisible tether that has always existed and will always exist between the two of them.

Edebiri: What I admire about it is the fact that they are able to bring out — through a lot of miscommunication and hard work, but ultimately, I think, with good intentions — the best in each other. They want to see each other be the best versions of themselves.

How is that reflected in your dynamic? Jeremy, who is Ayo as a scene partner and what has she brought out in you as a performer, and vice versa?

White: I was really so lucky to kind of witness Ayo in real time — everybody else had to wait some months to see her on the show. I remember genuinely being struck by her presence, her groundedness. It felt like, if this makes sense, wrong because she was doing it so well. She’s incredibly smart, she’s a wonderful writer, and she’s very skilled improvisationally, and so, in acting with her, there’s something that always makes you feel very in the moment. You can never like relax, in the best way. It’s like you always have to surrender yourself to each moment.

Edebiri: When we first started, I was coming from the comedy world, and he was coming from a much more dramatic world. Our approaches were so different. He has such amazing presence of being and a quiet focus and has such care for the work. He’s a really great leader. There are ideas in society of men in power, and what power held by men has to look like and feel like, and he’s very gentle — especially in the show, which can live so much in the space of chaos and anxiety, having a gentle spirit really helps with filming. He’s so good at making that very clear and helping teach me that as well … I’ve definitely learned from him, without realizing it, ways to protect yourself and protect your peace, and protect also the peace of your co-workers — you get the work done, you be serious about it, but it doesn’t have to be torture.

Edebiri on working with White: “When we first started, I was coming from the comedy world, and he was coming from a much more dramatic world. Our approaches were so different. He has such amazing presence of being and a quiet focus and has such care for the work.” (David Urbanke / For The Times)

What was it like to see them get this thing they’ve been after — not one, but two Michelin stars?

White: Reading that moment —there’s been so much pain and heartache … for years and years and years, and I was just so relieved to see this joyous moment on the page. It felt so, so close to the surface of me already. And we — Jeremy and Ayo — have shared so many insane, joyous moments in our lives since the show. So it felt familiar in the best way. I’m so glad for that moment for both of them — for Carmy and Syd.

Edebiri: We’re shooting it so fast. You always wish you just had more time, and that was one of the last scenes — I think it was the last thing that he and I shot. There’s obviously a bit of a preciousness and emotionality that you’re feeling in that moment, while also tapping into what’s happening to the characters. It’s this thing that, in the brain of myself, we’ve been building to this over five seasons. There’s obviously a somewhat meta reflection of what we’ve gone through — this is just such a crazy journey. But I think at the end of it, especially because of what we know is going to change in their relationship, that in their working proximity, that they are not going to be close, but they know that they were able to do this thing and build this thing together, I think [is] what felt very special, and felt very cool. I hope it’s something that people who have loved the show also feel.

Fans have intense feelings about their relationship, as I’m sure you know. Has it surprised you how strongly people feel about their dynamic?

White: I know that exists. I don’t have too much knowledge on how that all works. It’s funny, I’m very aware of it now because it’s become part of a conversation around the show, but it was nonexistent in our approach to the work. It wasn’t even a thought for either of us. It didn’t occur to us. But I understand it. There is an intimacy, of course, with these two characters. And there is this trust. They lean on each other and they admire each other so much. I’m not like — nobody’s crazy to feel that. There is love there, it’s just not a romantic partnership.

Edebiri: It surprised me the first two [seasons] because I don’t think that that’s what we were doing. Anytime that you say otherwise, I’ve learned [not to]. It’s been hard when doing press, it feels like we get asked specific questions to try to give a specific answer, but the point of art is we make it and we give it. If people are having a response, that’s great, and if I don’t agree with you, I don’t think I’m shutting it down or anything. We made something, then you’re picking something up — that’s the exchange.

White says he knows fans have intense feelings about the relationship between Carmy and Syd. “It’s funny, I’m very aware of it now because it’s become part of a conversation around the show, but it was nonexistent in our approach to the work. It wasn’t even a thought for either of us.” (David Urbanke / For The Times)

Carmy has a few heartfelt conversations this season, but one that really stands out is the one with his mom, played by Jamie Lee Curtis, while revisiting the family home he’s stayed away from for years. He cooks for her. She’s remorseful. Jeremy, what did you think of that moment for Carmy?

White: There’s resistance in it. People like Carmy, you can give them the answer, you can give them the sorry, you can give them the opportunity, and a lot of the times they don’t know what to do with it, or they push it away, or they push it down. What that scene was about, for Carm, was becoming available to even listen. That was the conflict of the scene and the moment. But he was able to eventually get to that acceptance to release some of the resentment, to release some of the anger. Then he is able to show up for her, which was what has been absent. He was able to take it and give her something. It’s been years, if ever, that he’s really been able to do that, to get out of his own way, and be of service in that way to his mother.

Ayo, it was really touching to see Syd naming Tina her chef de cuisine. How did you feel about what that sets up for where Syd and the Bear might be headed with these women as partners in the kitchen?

Edebiri: I loved it. I love getting to work with Liza [Colón-Zayas]. I’ve been so privileged to also be able to direct her — she’s just phenomenal. I think about these two characters, where they started Day 1; Tina was pretending not even to speak English just to stay away from the girl. It was rough from the get-go, but I think both for Liza and I, as two women of color as well, we felt so invested in their relationship and the community they built with each other. There’s something very moving about that to me. Part of the thing for Sydney, she doesn’t know — I think Carmy can see it — that one of her strengths is that they’re different types of leaders. Part of what I think makes Sydney a great leader is that she’s able to delegate and actually remove herself when she knows that she might not be the best in a situation, it might be somebody else.

I haven’t actually seen it. I can’t watch the episodes, but I know when we were filming it, it was both very sweet and very funny. I don’t know if they kept any of the improv from Liza.

You can’t watch because you’re emotional about it or because you just don’t have access?

Edebiri: No, I don’t want to. We were doing all this press and everybody was, “You were so emotional; you wanted to cry, right?” And I’m like, “No, I just don’t want to watch.” I’ll watch it later. The only season that I watched before [it aired], frankly, was 3 and 4 because I had episodes that I made in it. I love the show and I know the show is good. I don’t enjoy watching myself.

I do love that Syd’s ethos in the kitchen is borrowed from “Ratatouille.”

Edebiri: Yes, f—ing rat. It tracks for Sydney.

“I love getting to work with Liza [Colón-Zayas],” says Edebiri about her co-star, whose character is named chef de cuisine. “I’ve been so privileged to also be able to direct her — she’s just phenomenal.”

(FX)

Jeremy, what was your reaction when you read Carmy is in a suit interviewing for an internship at an architectural firm? And what he expresses there?

White: I understand and I’m proud of the courage that it takes [to do a life pivot], but also I tried to play that scene in a way where I didn’t want it to be entirely clear [what happens next]. I wanted the question to be like, “Is this guy still so f— up in the head that he’s trapped regardless of his place in this world, or place of work? Is it a romance that he’s saying goodbye to? Is it a love that he still has, and he’s not quite over yet?” Then I was like, “Do we snap out of that scene and we’re back on the clock?” What is this? I think the goal of the scene is it shouldn’t be all too clear and wrapped up.

What do you think?

White: I could see there’s obviously so much love. There’s love for the people he works with, and there’s love for the paces he’s gone through, but I didn’t know. … I didn’t know if it was a goodbye or an admittance. I think I was trying to find something between him coming clean and being like, you know what, I don’t belong anywhere else or I’m so in love with this thing, but it’s not good for me, and I think it exists somewhere in between that.

Ayo, what was your reaction to Carmy interviewing at the firm?

Edebiri: I was like, “Yeah, that makes sense. This boy’s a noodle.” He’s a fool, he’s ridiculous. It makes sense.

Where do you think he goes from here? Have you thought about it? Do you think he will ever find his way back to the kitchen?

White: I haven’t thought about it too much. I do think there’s something really honest about that direction that Carmy was moving into, but I would hope there’ll always be room for him somewhere in a kitchen.

Edebiri: Syd is like, “You can’t do anything else, brother. Like, what’s the plan?” I don’t know if he takes a break, if he comes back to help her, if he does his own thing.

What do you think happens to the Bear?

Edebiri: I think they do well. It’s not just her; it’s her and Sugar and Richie and Marcus and Tina. She got in it for Carmy, but I think she ended up finding her own voice. I think they keep going, at least for a few more years. I really do.

White: I have to believe that all the pain and suffering and trauma — not only that Carmy has gone through, but that everybody has gone through — is for some greater good. That there is a payoff. My hope is that it would be successful. They’ll have the endurance and the motivation to make it.

Euphoria’s creator Sam Levinson has claimed that Sydney Sweeney pushed him to include nude scenes for her character Cassie Howard as he defends himself from fan backlash

After the Euphoria season finale, fans were outraged by the inclusion of copious nude scenes for Cassie Howard, but Sam Levinson has claimed that Sydney Sweeney ‘forced’ him into it.

During the third and final season, Sweeney’s character was nude in multiple scenes, including a montage of nude fetish scenes, as her character started a career as an OnlyFans model. Some fans felt the show over sexualised Cassie and criticised Levinson for the direction the show took. But Levinson said in a podcast episode that it was Sweeney’s choice.

The showrunner said: “When I first wrote it, I thought, ‘Well maybe we shoot all of this and we don’t have any nudity.’ I was talking to her, and you know, [I said] ‘Maybe there’s ways to shoot around certain things?’

“She looked at me, and she was like, ‘Are you kidding? It’s like, I’m playing an OnlyFans model. You’re telling me you’re going to, like, skirt around it?’ And I was like, ‘Yeah, OK, it’s a fair point.’ So there’s always a discussion of what works best for the character.”

He added the the New York Times podcast that Sweeney was a “totally fearless actor” and “wonderfully professional”. Levinson said: “I adore working with her, because there’s such a flexibility in terms of the performance.”

Fan backlash to the scenes was quite strong. Critics of the show questioned their inclusion and argued Cassie was being “degraded” in them and that it was a “humiliation ritual” for Sweeney.

Levinson addressed the fan backlash: “I believe very strongly that the best, most honest performances are when an actor feels free and safe. That’s how you get a great performance. You can’t if there is any tension, the emotion that is going to be blocked. And that’s something I’ve known from my days of studying acting.” He claimed his role on set was to “create the most conducive environment for the actor”.

Sweeney has also appears to have spoken about the nude scenes. She took to Instagram on 31 May to share a series of behind the scenes pics from the last season, including one from when she was nearly naked, with a python draped over her body. She said underneath the image: “It’s called… acting.”

Fans were also angry with the the season finale for killing off Zendaya’s character Rue via an accidental overdose. After being sober all season, the character was given pain pills that were laced fentanyl and died. Accidentally overdosing on fentanyl was the same way Euphoria star Angus Cloud died in in 2023.

Some fans felt the death was wrong as Rue had been sober all season. “What the hell is this show about ??? Rue has been sober since episode one how come she died from overdose in the last episode?” one wrote on X. Another added: “I think it’s safe to say that this was the worst season of Euphoria.”

But Levinson said this was an “honest” ending for Rue. “The honest ending is that people like Rue don’t make it. There’s no reason to sugarcoat it. I wanted to tell this story for Angus [Cloud] and for people who weren’t granted a second chance.”

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SYDNEY Sweeney left very little to the imagination as she almost fell out of a blue corset dress at Stagecoach.

Stunning Sydney, 28, made a surprising appearance on stage at Diplo’s Honkytonk during the 2026 Stagecoach Festival.

The Euphoria star looked sensational as she handed out knickers while on stage.

Sydney’s baby blue corset dress looked as though it was held up by luck alone as she appeared on stage.

Fans were so shocked by Sydney’s appearance at the festival, with many overjoyed to see her on stage.

After handing out panties from her SYRN lingerie line, she and Diplo took part in a fun karaoke session

PILLOW TALK

Euphoria’s raunchiest sex scenes as Sydney Sweeney strips down for new season

‘NEXT LEVEL’

Olivia Dunne wows as she poses for Sydney Sweeney’s skimpy lingerie brand SYRN

A video of Sweeney and Diplo was posted via the underwear brand’s Instagram stories on Saturday evening, with the caption: “@diplo Thanks for stopping by!!!”.

Fans rushed to the comments of the main post shared on SYRN’s Instagram reels, which showcased all of the famous guests who stopped by.

One fan said: “This whole look, I am in love.”

While another added: “The people’s princess.”

And a third wrote: “She’s too hot, it’s almost uncomfortable.”

Meanwhile, since the footage of Sydney made its way onto X, one person on the platform penned: “Love it. Love how she doesn’t give 2 sh*t’s about her haters and living her absolute best life with no apologies needed!!!”

“I love her so much,” said a second.

“She owns the damn place. She can do whatever the F she wants,” wrote a third.

“She looks stunning and she also looks happy and free. Haters gonna hate,” chimed a fourth.

While a fifth said: “Sydney is an ALL AMERICAN BADDIE!!”

“I love sydneys outfit,” swooned a sixth.

And a seventh gushed: “Sydney Sweeney is literally perfect.”

This comes as Sydney continues to enrage fans with her portrayal of Cassie in Euphoria.

Sydney plays the role of Cassie Howard in one of TV’s steamiest shows, with fans left angered by the level of raciness in its third season.

Cassie’s controversial new career choice as an OnlyFans model with a montage of raunchy photoshoots.

In one compromising position, Cassie licks a melting ice cream cone as it drips down her entire naked body – including on her bare chest.

Another shot showed Cassie, butt naked in nothing but a backwards baseball hat on her head and her hand covering her modesty.

These have not been the only controversial scenes in Euphoria season three thus far.

Sydney is dressed as a baby with a pacifier in her mouth in episode one.

Posing in a suggestive way with her legs open, fans were left fuming over the NSFW display.

ACTRESS Anne Hathaway steals the show in a red dress at the US premiere of The Devil Wears Prada 2 — but Sydney Sweeney was a no-show after her scenes were cut.

Anne, 43 — who wore a custom Louis Vuitton gown — was joined by co-stars Meryl Streep, Emily Blunt and Stanley Tucci for the screening.

British Bridgerton star Simone Ashley was also there, along with Lady Gaga, who worked on the music for the film and makes a cameo appearance.

But Euphoria star Sydney, 28, skipped the premiere in New York.

She had been pictured on set last year.

Sources said she shot a scene in which she played herself being dressed by Emily’s character Emily Charlton.

Read more on Sydney Sweeney

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‘WTF?’

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However, it did not make the final cut as it was felt it did not work with the rest of the storyline.

The film’s stars are due back on the red carpet in London’s Leicester Square this evening for the European premiere.

The Devil Wears Prada 2 comes 20 years after the original, in which Anne played aspiring journalist Andy Sachs working for cruel magazine editor Miranda Priestly, played by Streep,

Anne has previously spoken about how it changed her career.

She said: “This film opened so many doors for me, and it gave me so many opportunities.

“It became this anchor for how audiences responded to me, and let me take a lot more risks and make a lot of weird choices in my career, because I have this warm hug to come back to.”