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1. https://www.cnnindonesia.com/olahraga/202101251442

14-178-598068/kronologi-kecelakaan-helikopter-kobe-bryant

2. https://sport.detik.com/detiktv/d-5368470/ternyata-ini-penyebab-kecelakaan-yang-tewaskan-kobe-bryant

3. https://www.kompas.com/sport/read/2020/01/27/064916667/kronologi-kecelakaan-helikopter-yang-tewaskan-kobe-bryant

4. https://www.bbc.com/indonesia/dunia-51275672

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Kronologi Kecelakaan Helikopter Kobe Bryant

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Tepat satu tahun lalu, Kobe Bryant meninggal akibat kecelakaan helikopter di Caifornia. Berikut kronologi tewasnya Kobe Bryant.

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1. Peristiwa kecelakaan helikopter yang meneaskan kobe bryant

2. 9 orang dalam helikopter tewas termasuk putri kobe berusia 13 tahun

3. 26 januari 2020

4. Pilot tersebut melanggar peraturan penerbangan dengan terbang ke awan , di mana ia menjadi bingung dan kehilangan kendali atas helikopter, kata Dewan Keselamatan Transportasi Nasional

5. meninggal dalam kecelakaan helikopter di Calabasas, California

6. Sikorsky S-76B yang jatuh di Calabasas, California, dan menewaskan Kobe Bryant serta delapan orang lainnya

7. Kobe dan Gianna menggunakan helikopter tersebut guna menuju Mamba Academy dekat Thousand Oak, California, untuk berlatih basket

8. Helikopter yang ditumpangi Kobe Bryant tinggal landas dari Bandara John Wayne pada pukul 09.06 waktu setempat, menurut laporan LA Times

9. Pada pukul 09.17 helikopter tersebut melakukan perubahan rute dari yang biasanya

10. Sinyal mengalami masalah pada pukul 09.44. Pihak menara mengatakan helikopter terlalu rendah ketika menerima panduan dan pada pukul 09.45, helikopter mengalami kecelakaan di lereng di Calabasas

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1. https://www.grammy.com/news/2024-grammys-nominations-full-winners-nominees-list

2. https://www.bbc.com/news/entertainment-arts-67380225

3. https://en.wikipedia.org/wiki/66th_Annual_Grammy_Awards

4. https://www.theguardian.com/music/2024/feb/04/grammy-awards-2024-list-of-winners

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Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.
Worship
Jon Batiste
Jon Batiste, Jon Bellion, Pete Nappi & Tenroc, producers; John Arbuckle, Bryce Bordone, Serban Ghenea & Pete Nappi, engineers/mixers; Chris Gehringer, mastering engineer

On My Mama
Victoria Monét
Deputy, Dernst Emile II, Jeff Gitelman & Victoria Monét, producers; Patrizio Pigliapoco, Victoria Monét & Todd Robinson, engineers/mixers; Colin Leonard, mastering engineer

Vampire
Olivia Rodrigo
Dan Nigro, producer; Bryce Bordone, Serban Ghenea, Michael Harris, Chris Kasych, Daniel Nigro & Dan Viafore, engineers/mixers; Randy Merrill, mastering engineer

Anti-Hero
Taylor Swift
Jack Antonoff & Taylor Swift, producers; Jack Antonoff, Bryce Bordone, Serban Ghenea, Laura Sisk & Lorenzo Wolff, engineers/mixers; Randy Merrill, mastering engineer
2. Album Of The Year Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with 20% or more playing time of the album.
GUTS
Olivia Rodrigo
Daniel Nigro, producer; Bryce Bordone, Serban Ghenea, Chris Kasych, Sterling Laws, Ryan Linvill, Mitch McCarthy, Daniel Nigro, Dave Schiffman, Mark "Spike" Stent, Sam Stewart & Dan Viafore, engineers/mixers; Daniel Nigro & Olivia Rodrigo, songwriters; Randy Merrill, mastering engineer

SOS Midnights - WINNER
Taylor Swift
Jack Antonoff & Taylor Swift, producers; Jack Antonoff, Zem Audu, Bryce Bordone, Serban Ghenea, David Hart, Mikey Freedom Hart, Sean Hutchinson, Ken Lewis, Michael Riddleberger, Laura Sisk & Evan Smith, engineers/mixers; Jack Antonoff & Taylor Swift, songwriters; Randy Merrill, mastering engineer

SZA
Rob Bisel, ThankGod4Cody & Carter Lang, producers; Rob Bisel, engineer/mixer; Rob Bisel, Cody Fayne, Carter Lang & Solána Rowe, songwriters; Dale Becker, mastering engineer
3. Song Of The Year A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
A&W
Jack Antonoff, Lana Del Rey & Sam Dew, songwriters (Lana Del Rey)

Anti-Hero
Jack Antonoff & Taylor Swift, songwriters (Taylor Swift)

Butterfly
Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Dance The Night (From Barbie The Album)
Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt, songwriters (Dua Lipa)

Flowers
Miley Cyrus, Gregory Aldae Hein & Michael Pollack, songwriters (Miley Cyrus)

Kill Bill
Rob Bisel, Carter Lang & Solána Rowe, songwriters (SZA)

Vampire
Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish)
What Was I Made For? [From The Motion Picture "Barbie"] - WINNER
4. Best New Artist This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape. 5. Producer Of The Year, Non-Classical A Producer's Award. (Artists names appear in parentheses.) Jack Antonoff - WINNER
* Being Funny In A Foreign Language (The 1975) (A)

* Did You Know That There's A Tunnel Under Ocean Blvd (Lana Del Rey) (A)

* Midnights (Taylor Swift) (A)

Dernst "D'Mile" Emile II

* JAGUAR II (Victoria Monét) (A)

* Bus Stop (Don Toliver Featuring Brent Faiyaz) (T)

* Just Face It (Dreamville With Blxst) (T)

* Kings Disease III (Nas) (A)

* Magic 3 (Nas) (A)

* Magic 2 (Nas) (A)

* Slipping Into Darkness (Hit-Boy & The Alchemist) (S)

* Surf Or Drown Vol. 1 (Hit-Boy) (A)

* Surf Or Drown Vol. 2 (Hit-Boy) (A)

* Victims & Villains (Musiq Soulchild & Hit-Boy) (A)

* Metro Boomin

* Am I Dreaming (Metro Boomin Featuring Roisee & A$AP Rocky) (S)

* Calling (Metro Boomin Featuring NAV, A Boogie Wit Da Hoodie & Swae Lee) (S)

* Creepin' (Metro Boomin Featuring 21 Savage & The Weeknd) (S)

* More M's (Drake & 21 Savage) (S)

* Oh U Went (Young Thug Featuring Drake) (S)

* Superhero (Heroes & Villains) (Metro Boomin, Future & Chris Brown) (S)

* Til Further Notice (Travis Scott Featuring James Blake & 21 Savage) (S)

* Trance (Metro Boomin Featuring Travis Scott & Young Thug) (S)

* War Bout It (Lil Durk Featuring 21 Savage) (S)

* Daniel Nigro

* Casual (Chappell Roan) (S)

* Divide (Dermot Kennedy) (S)

* Guts (Olivia Rodrigo) (A)

* Hot To Go! (Chappell Roan) (S)

* Kaleidoscope (Chappell Roan) (S)

* Red Wine Supernova (Chappell Roan) (S)

* Welcome To My Island (Caroline Polachek) (S)
6. Songwriter of the Year, Non-Classical A Songwriter's Award. (Artists names appear in parentheses.)
Edgar Barrera

* Cuestion De Tiempo (Don Omar) (T)

* Falsa Alarma (En Vivo) (Grupo Firme) (T)

* Gucci Los Paños (Karol G) (T)

* La Despedida (Christian Nodal) (T)

* Mi Ex Tenía Razón (Karol G) (T)

* Que Vuelvas (Various Artists) (T)

* Un Cumbión Dolido (Christian Nodal) (T)

* un x100to (Grupo Frontera & Bad Bunny) (T)

* Yo Pr1mero (Rels B) (S)

Jessie Jo Dillon

* Buried (Brandy Clark) (T)

* Girl In The Mirror (Megan Moroney) (T)

* Halfway To Hell (Jelly Roll) (T)

* I Just Killed A Man (Catie Offerman) (S)

* Memory Lane (Old Dominion) (S)

* Neon Cowgirl (Dan + Shay) (T)

* screen (HARDY) (T)

* The Town In Your Heart (Lori McKenna) (T)

* Up Above The Clouds (Cecilia's Song) (Brandy Clark) (T)

Shane McAnally

* Come Back To Me (Brandy Clark) (S)

* Good With Me (Walker Hayes) (S)

* He's Never Gunna Change (Lauren Daigle) (S)

* I Should Have Married You (Old Dominion) (S)

* Independently Owned (Alex Newell & Original Broadway Cast of Shucked) (S)

* Never Grow Up (Niall Horan) (S)

* Start Nowhere (Sam Hunt) (S)

* Walmart (Sam Hunt) (S)

* We Don't Fight Anymore (Carly Pearce & Chris Stapleton) (S)
Theron Thomas - WINNER
* All My Life (Lil Durk Featuring J. Cole) (S)

* Been Thinking (Tyla) (S)

* Cheatback (Chlöe & Future) (T)

* How We Roll (Ciara & Chris Brown) (S)

* Make Up Your Mind (Cordae) (S)

* Pretty Girls Walk (Big Boss Vette) (S)

* Seven (Jung Kook & Latto) (S)

* Told Ya (Chlöe & Missy Elliot) (T)

* You And I (Sekou) (T)

Justin Tranter

* Gemini Moon (Reneé Rapp) (T)

* Honey! (Are U Coming?) (Måneskin) (S)

* I Want More (Marisa Davila & Cast Of Grease: Rise Of The Pink Ladies) (S)

* Jersey (Baby Tate) (S)

* A Little Bit Happy (TALK) (S)

* Pretty Girls (Reneé Rapp) (S)

* River (Miley Cyrus) (S)
7. Best Pop Solo Performance For new vocal or instrumental pop recordings. Singles or Tracks only.
Paint The Town Red
Doja Cat

What Was I Made For? [From The Motion Picture "Barbie"]
Billie Eilish

Vampire
Olivia Rodrigo
8. Best Pop Duo/Group Performance For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
Thousand Miles
Miley Cyrus Featuring Brandi Carlile

Candy Necklace
Lana Del Rey Featuring Jon Batiste

Never Felt So Alone
Labrinth Featuring Billie Eilish

Karma
Taylor Swift Featuring Ice Spice
9. Best Pop Vocal Album For albums containing greater than 75% playing time of new pop vocal recordings.
Chemistry
Kelly Clarkson

Endless Summer Vacation
Miley Cyrus
10. Best Dance/Electronic Recording For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.
Rumble - WINNER
Skrillex, Fred again.. & Flowdan
BEAM, Elley Duhé, Fred again.. & Skrillex, producers; Skrillex, mixer
11. Best Pop Dance Recording For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only. 12. Best Dance/Electronic Music Album For vocal or instrumental albums. Albums only.
Playing Robots Into Heaven
James Blake

For That Beautiful Feeling
The Chemical Brothers

Quest For Fire
Skrillex
13. Best Rock Performance For new vocal or instrumental solo, duo/group or collaborative rock recordings.
Sculptures Of Anything Goes
Arctic Monkeys

More Than A Love Song
Black Pumas
14. Best Metal Performance For new vocal or instrumental solo, duo/group or collaborative metal recordings.
Phantom Of The Opera
Ghost
15. Best Rock Song A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Angry
Mick Jagger, Keith Richards & Andrew Watt, songwriters (The Rolling Stones)

Ballad Of A Homeschooled Girl
Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

Emotion Sickness
Dean Fertita, Joshua Homme, Michael Shuman, Jon Theodore & Troy Van Leeuwen, songwriters (Queens Of The Stone Age)

Rescued
Dave Grohl, Rami Jaffee, Nate Mendel, Chris Shiflett & Pat Smear, songwriters (Foo Fighters)
16. Best Rock Album For albums containing greater than 75% playing time of new rock, hard rock or metal recordings.
But Here We Are
Foo Fighters

Starcatcher
Greta Van Fleet

In Times New Roman...
Queens Of The Stone Age
17. Best Alternative Music Performance For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.
Body Paint
Arctic Monkeys

Cool About It
boygenius
18. Best Alternative Music Album
Did You Know That There's A Tunnel Under Ocean Blvd
Lana Del Rey

Cracker Island
Gorillaz

I Inside The Old Year Dying
PJ Harvey
19. Best R&B Performance For new vocal or instrumental R&B recordings.
Summer Too Hot
Chris Brown

Back To Love
Robert Glasper Featuring SiR & Alex Isley

How Does It Make You Feel
Victoria Monét
20. Best Traditional R&B Performance For new vocal or instrumental traditional R&B recordings.
Simple
Babyface Featuring Coco Jones

Hollywood
Victoria Monét Featuring Earth, Wind & Fire & Hazel Monét
21. Best R&B Song A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Angel
Halle Bailey, Theron Feemster & Coleridge Tillman, songwriters (Halle)

Back To Love
Darryl Andrew Farris, Riley Glasper, Robert Glasper & Alexandra Isley, songwriters (Robert Glasper Featuring SiR & Alex Isley)

ICU
Darhyl Camper Jr., Courtney Jones, Raymond Komba & Roy Keisha Rockette, songwriters (Coco Jones)

On My Mama
Dernst Emile II, Jeff Gitelman, Victoria Monét, Kyla Moscovich, Jamil Pierre & Charles Williams, songwriters (Victoria Monét)
22. Best Progressive R&B Album For albums containing greater than 75% playing time of newly recorded progressive vocal tracks derivative of R&B.
Since I Have A Lover
6LACK

The Love Album: Off The Grid
Diddy

Nova
Terrace Martin And James Fauntleroy

The Age Of Pleasure
Janelle Monáe
23. Best R&B Album For albums containing greater than 75% playing time of new R&B recordings.
Girls Night Out
Babyface

What I Didn't Tell You (Deluxe)
Coco Jones

Special Occasion
Emily King

CLEAR 2: SOFT LIFE EP
Summer Walker
24. Best Rap Performance For a Rap performance. Singles or Tracks only.
The Hillbillies
Baby Keem Featuring Kendrick Lamar

Love Letter
Black Thought

Rich Flex
Drake & 21 Savage
25. Best Melodic Rap Performance For a solo or collaborative performance containing both elements of R&B melodies and Rap.
Sittin' On Top Of The World
Burna Boy Featuring 21 Savage

Spin Bout U
Drake & 21 Savage
26. Best Rap Song A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Attention
Rogét Chahayed, Amala Zandile Dlamini & Ari Starace, songwriters (Doja Cat)

Barbie World [From Barbie The Album]
Isis Naija Gaston, Ephrem Louis Lopez Jr. & Onika Maraj, songwriters (Nicki Minaj & Ice Spice Featuring Aqua)

Just Wanna Rock
Mohamad Camara, Symere Woods & Javier Mercado, songwriters (Lil Uzi Vert)

Rich Flex
Brytavious Chambers, Isaac "Zac" De Boni, Aubrey Graham, J. Gwin, Anderson Hernandez, Michael "Finatik" Mule & Shéyaa Bin Abraham-Joseph, songwriters (Drake & 21 Savage)
27. Best Rap Album For albums containing greater than 75% playing time of new rap recordings.
Her Loss
Drake & 21 Savage

HEROES & VILLIANS
Metro Boomin
28. Best Spoken Word Poetry Album For albums containing greater than 50% playing time of new spoken word poetry recordings.
A-You're Not Wrong B-They're Not Either: The Fukc-It Pill Revisited
Queen Sheba

For Your Consideration'24 -The Album
Prentice Powell and Shawn William

Grocery Shopping With My Mother
Kevin Powell

When The Poems Do What They Do
Aja Monet
29. Best Jazz Performance For new vocal or instrumental solo, duo/group or collaborative jazz recordings.
Movement 18' (Heroes)
Jon Batiste

Basquiat
Lakecia Benjamin

Vulnerable (Live)
Adam Blackstone Featuring The Baylor Project & Russell Ferranté

But Not For Me
Fred Hersch & Esperanza Spalding
30. Best Jazz Vocal Album For albums containing greater than 75% playing time of new vocal jazz recordings.
For Ella 2
Patti Austin Featuring Gordon Goodwin's Big Phat Band

Alive At The Village Vanguard
Fred Hersch & Esperanza Spalding

Lean In
Gretchen Parlato & Lionel Loueke

Mélusine
Cécile McLorin Salvant
31. Best Jazz Instrumental Album For albums containing greater than 75% playing time of new instrumental jazz recordings.
The Source
Kenny Barron

Phoenix
Lakecia Benjamin

Legacy: The Instrumental Jawn
Adam Blackstone
32. Best Large Jazz Ensemble Album For albums containing greater than 75% playing time of new ensemble jazz recordings.
The Chick Corea Symphony Tribute - Ritmo
ADDA Simfònica, Josep Vicent, Emilio Solla

Dynamic Maximum Tension
Darcy James Argue's Secret Society

Olympians
Vince Mendoza & Metropole Orkest

The Charles Mingus Centennial Sessions
Mingus Big Band
33. Best Latin Jazz Album For vocal or instrumental albums containing greater than 75% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.
My Heart Speaks
Ivan Lins With The Tblisi Symphony Orchestra

Vox Humana
Bobby Sanabria Multiverse Big Band

Cometa
Luciana Souza & Trio Corrente
34. Best Alternative Jazz Album For vocal or instrumental albums containing greater than 75% playing time of new Alternative jazz recordings.
Love In Exile
Arooj Aftab, Vijay Iyer, Shahzad Ismaily

Quality Over Opinion
Louis Cole

SuperBlue: The Iridescent Spree
Kurt Elling, Charlie Hunter, SuperBlue

Live At The Piano
Cory Henry
35. Best Traditional Pop Vocal Album For albums containing greater than 75% playing time of new traditional pop recordings.
To Steve With Love: Liz Callaway Celebrates Sondheim
Liz Callaway

Pieces Of Treasure
Rickie Lee Jones

Holidays Around The World
Pentatonix

Only The Strong Survive
Bruce Springsteen

Sondheim Unplugged (The NYC Sessions), Vol. 3
(Various Artists)
36. Best Contemporary Instrumental Album For albums containing greater than 75% playing time of new contemporary instrumental recordings.
On Becoming
House Of Waters
37. Best Musical Theater Album For albums containing greater than 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50 % or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.
Kimberly Akimbo
Victoria Clark, principal vocalist; John Clancy, David Stone & Jeanine Tesori, producers; Jeanine Tesori, composer; David Lindsay-Abaire, lyricist (Original Broadway Cast)

Parade
Micaela Diamond, Alex Joseph Grayson, Jake Pedersen & Ben Platt, principal vocalists; Jason Robert Brown & Jeffrey Lesser, producers; Jason Robert Brown, composer & lyricist (2023 Broadway Cast)

Shucked
John Behlmann, Andrew Durand, Caroline Innerbichler & Alex Newell, principal vocalists; Brandy Clark, Jason Howland, Shane McAnally & Billy Jay Stein, producers; Brandy Clark & Shane McAnally, composers/lyricists (Original Broadway Cast)

Sweeney Todd: The Demon Barber Of Fleet Street
Annaleigh Ashford & Josh Groban, principal vocalists; Thomas Kail & Alex Lacamoire, producers (Stephen Sondheim, composer & lyricist) (2023 Broadway Cast)
38. Best Country Solo Performance For new vocal or instrumental solo country recordings.
In Your Love
Tyler Childers

The Last Thing On My Mind
Dolly Parton
39. Best Country Duo/Group Performance For new vocal or instrumental duo/group or collaborative country recordings.
High Note
Dierks Bentley Featuring Billy Strings

Nobody's Nobody
Brothers Osborne

Kissing Your Picture (Is So Cold)
Vince Gill & Paul Franklin

Save Me
Jelly Roll With Lainey Wilson

We Don't Fight Anymore
Carly Pearce Featuring Chris Stapleton
40. Best Country Song A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Buried
Brandy Clark & Jessie Jo Dillon, songwriters (Brandy Clark)

I Remember Everything
Zach Bryan & Kacey Musgraves, songwriters (Zach Bryan Featuring Kacey Musgraves)

In Your Love
Tyler Childers & Geno Seale, songwriters (Tyler Childers)

Last Night
John Byron, Ashley Gorley, Jacob Kasher Hindlin & Ryan Vojtesak, songwriters (Morgan Wallen)
41. Best Country Album For albums containing greater than 75% playing time of new country recordings.
Rolling Up The Welcome Mat
Kelsea Ballerini

Brothers Osborne
Brothers Osborne

Rustin' In The Rain
Tyler Childers
42. Best American Roots Performance For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including bluegrass, blues, folk or regional roots. Award to the artist(s).
Heaven Help Us All
The Blind Boys Of Alabama

Inventing The Wheel
Madison Cunningham

You Louisiana Man
Rhiannon Giddens
43. Best Americana Performance For new vocal or instrumental Americana performance. Award to the artist(s).
Friendship
The Blind Boys Of Alabama

Help Me Make It Through The Night
Tyler Childers

King Of Oklahoma
Jason Isbell And The 400 Unit

The Returner
Allison Russell
44. Best American Roots Song A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
Blank Page
Michael Trotter Jr. & Tanya Trotter, songwriters (The War And Treaty)

California Sober
Aaron Allen, William Apostol & Jon Weisberger, songwriters (Billy Strings Featuring Willie Nelson)

Dear Insecurity
Brandy Clark & Michael Pollack, songwriters (Brandy Clark Featuring Brandi Carlile)

The Returner
Drew Lindsay, JT Nero & Allison Russell, songwriters (Allison Russell)
45. Best Americana Album For albums containing greater than 75% playing time of new vocal or instrumental Americana recordings.
Brandy Clark
Brandy Clark

The Chicago Sessions
Rodney Crowell

You're The One
Rhiannon Giddens

The Returner
Allison Russell
46. Best Bluegrass Album For albums containing greater than 75% playing time of new vocal or instrumental bluegrass recordings.
Radio John: Songs of John Hartford
Sam Bush

Lovin' Of The Game
Michael Cleveland

Mighty Poplar
Mighty Poplar

Bluegrass
Willie Nelson

Me/And/Dad
Billy Strings
47. Best Traditional Blues Album For albums containing greater than 75% playing time of new vocal or instrumental traditional blues recordings.
The Soul Side Of Sipp
Mr. Sipp

Life Don't Miss Nobody
Tracy Nelson

Teardrops For Magic Slim Live At Rosa's Lounge
John Primer
48. Best Contemporary Blues Album For albums containing greater than 75% playing time of new vocal or instrumental contemporary blues recordings.
Death Wish Blues
Samantha Fish And Jesse Dayton

Healing Time
Ruthie Foster

Live In London
Christone "Kingfish" Ingram

LaVette!
Bettye LaVette
49. Best Folk Album For albums containing greater than 75% playing time of new vocal or instrumental folk recordings.
Traveling Wildfire
Dom Flemons

I Only See The Moon
The Milk Carton Kids

Celebrants
Nickel Creek

Jubilee
Old Crow Medicine Show

Seven Psalms
Paul Simon

Folkocracy
Rufus Wainwright
50. Best Regional Roots Music Album For albums containing greater than 75% playing time of new vocal or instrumental regional roots music recordings.
Live At The 2023 New Orleans Jazz & Heritage Festival
Dwayne Dopsie & The Zydeco Hellraisers

Made In New Orleans
New Breed Brass Band

Too Much To Hold
New Orleans Nightcrawlers

Live At The Maple Leaf
The Rumble Featuring Chief Joseph Boudreaux Jr.
51. Best Gospel Performance/Song This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.
God Is Good
Stanley Brown Featuring Hezekiah Walker, Kierra Sheard & Karen Clark Sheard; Stanley Brown, Karen V Clark Sheard, Kaylah Jiavanni Harvey, Rodney Jerkins, Elyse Victoria Johnson, J Drew Sheard II, Kierra Valencia Sheard & Hezekiah Walker, songwriters

Feel Alright (Blessed)
Erica Campbell; Erica Campbell, Warryn Campbell, Juan Winans & Marvin L. Winans, songwriters

Lord Do It For Me (Live)
Zacardi Cortez; Marcus Calyen, Zacardi Cortez & Kerry Douglas, songwriters

God Is
Melvin Crispell III
52. Best Contemporary Christian Music Performance/Song This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)
Believe
Blessing Offor; Hank Bentley & Blessing Offor, songwriters

Firm Foundation (He Won't) [Live]
Cody Carnes

Thank God I Do
Lauren Daigle; Lauren Daigle & Jason Ingram, songwriters

Love Me Like I Am
for KING & COUNTRY Featuring Jordin Sparks

Your Power - WINNER
Lecrae & Tasha Cobbs Leonard; Alexandria Dollar, Jordan Dollar, Antonio Gardener, Micheal Girgenti, Lasanna "Ace" Harris, David Hein, Deandre Hunter, Dylan Hyde, Christian Louisana, Patrick Darius Mix Jr., Lecrae Moore, Justin Pelham, Jeffrey Lawrence Shannon, Allen Swoope, songwriters

God Problems
Maverick City Music, Chandler Moore & Naomi Raine; Daniel Bashta, Chris Davenport, Ryan Ellis & Naomi Raine, songwriters
53. Best Gospel Album For albums containing greater than 75% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
I Love You
Erica Campbell

Hymns (Live)
Tasha Cobbs Leonard

The Maverick Way
Maverick City Music

My Truth
Jonathan McReynolds
54. Best Contemporary Christian Music Album For albums containing greater than 75% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.
My Tribe
Blessing Offor

Lauren Daigle
Lauren Daigle
55. Best Roots Gospel Album For albums containing greater than 75% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.
Tribute To The King
The Blackwood Brothers Quartet

Songs That Pulled Me Through The Tough Times
Becky Isaacs Bowman

Meet Me At The Cross
Brian Free & Assurance

Shine: The Darker The Night The Brighter The Light
Gaither Vocal Band
56. Best Latin Pop Album For albums containing greater than 75% playing time of new Latin pop recordings.
La Cuarta Hoja
Pablo Alborán

Beautiful Humans, Vol. 1
AleMor
57. Best Música Urbana Album For albums containing greater than 75% playing time of new Música Urbana recordings.
SATURNO
Rauw Alejandro
58. Best Latin Rock or Alternative Album For albums containing greater than 75% playing time of new Latin rock or alternative recordings.
Leche De Tigre
Diamante Eléctrico
59. Best Música Mexicana Album (Including Tejano) For albums containing greater than 75% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.
Bordado A Mano
Ana Bárbara

Motherflower
Flor De Toloache

Amor Como En Las Películas De Antes
Lupita Infante
60. Best Tropical Latin Album For albums containing greater than 75% playing time of new tropical Latin recordings.
Niche Sinfónico
Grupo Niche Y Orquesta Sinfónica Nacional de Colombia

MIMY & TONY
Tony Succar, Mimy Succar

Escalona Nunca Se Había Grabado Así
Carlos Vives
61. Best Global Music Performance For new vocal or instrumental Global music recordings.
Shadow Forces
Arooj Aftab, Vijay Iyer & Shahzad Ismaily

Milagro Y Desastre
Silvana Estrada

Abundance In Millets
Falu & Gaurav Shah (Featuring PM Narendra Modi)

Todo Colores
Ibrahim Maalouf Featuring Cimafunk & Tank And The Bangas
62. Best African Music Performance
Amapiano
ASAKE & Olamide

UNAVAILABLE
Davido Featuring Musa Keys
63. Best Global Music Album For albums containing greater than 75% playing time of new vocal or instrumental Global Music recordings. 64. Best Reggae Album For albums containing greater than 75% playing time of new reggae recordings.
Born For Greatness
Buju Banton

Cali Roots Riddim 2023
Collie Buddz

No Destroyer
Burning Spear
65. Best New Age, Ambient, or Chant Album For albums containing greater than 75% playing time of new vocal or instrumental new age recordings.
Aquamarine
Kirsten Agresta-Copely

Moments Of Beauty
Omar Akram

Some Kind Of Peace (Piano Reworks)
Ólafur Arnalds

Ocean Dreaming Ocean
David Darling & Hans Christian
66. Best Children's Music Album For albums containing greater than 75% playing time of new musical or spoken word recordings that are created and intended specifically for children.
Ancestars
Pierce Freelon & Nnenna Freelon

Hip Hope For Kids!
DJ Willy Wow!

Taste The Sky
Uncle Jumbo
67. Best Comedy Album For albums containing greater than 75% playing time of new recordings.
I Wish You Would
Trevor Noah

I'm An Entertainer
Wanda Sykes

Selective Outrage
Chris Rock

Someone You Love
Sarah Silverman
68. Best Audio Book, Narration, and Storytelling Recording
Boldly Go: Reflections On A Life Of Awe And Wonder
William Shatner

The Creative Act: A Way Of Being
Rick Rubin

It's Ok To Be Angry About Capitalism
Senator Bernie Sanders
69. Best Compilation Soundtrack For Visual Media Award to the principal artist(s) and/or 'in studio' producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).
AURORA
Brandon Davis, Pete Ganbarg, Joseph Khoury & Blake Mills, compilation producers; Frankie Pine, music supervisor
(Daisy Jones & The Six)

Barbie The Album - WINNER
Brandon Davis, Mark Ronson & Kevin Weaver, compilation producers; George Drakoulias, music supervisor
(Various Artists)

Black Panther: Wakanda Forever - Music From And Inspired By
Ryan Coogler, Archie Davis & Ludwig Göransson, compilation producers; Dave Jordan, music supervisor
(Various Artists)

Guardians of the Galaxy, Vol. 3: Awesome Mix, Vol. 3
Kevin Feige, James Gunn & Dave Jordan, compilation producers; Dave Jordan, music supervisor
(Various Artists)

Weird: The Al Yankovic Story
Leo Birenberg, Zach Robinson & Al Yankovic, compilation producers; Suzanne Coffman, music supervisor
Weird Al Yankovic
70. Best Score Soundtrack For Visual Media (Includes Film And Television) Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.
Barbie
Mark Ronson & Andrew Wyatt, composers

Black Panther: Wakanda Forever
Ludwig Göransson, composer

The Fabelmans
John Williams, composer

Indiana Jones And The Dial Of Destiny
John Williams, composer
71. Best Score Soundtrack for Video Games and Other Interactive Media Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.
Call Of Duty®: Modern Warfare II
Sarah Schachner, composer

God Of War Ragnarök
Bear McCreary, composer

Hogwarts Legacy
Peter Murray, J Scott Rakozy & Chuck E. Myers "Sea", composers

Stray Gods: The Roleplaying Musical
Montaigne, Tripod & Austin Wintory, composers
72. Best Song Written For Visual Media A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)
Barbie World [From "Barbie The Album"]
Naija Gaston, Ephrem Louis Lopez Jr. & Onika Maraj, songwriters (Nicki Minaj & Ice Spice Featuring Aqua)

Dance The Night [From "Barbie The Album"]
Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt, songwriters (Dua Lipa)

I'm Just Ken [From "Barbie The Album"]
Mark Ronson & Andrew Wyatt, songwriters (Ryan Gosling)

Lift Me Up [From "Black Panther: Wakanda Forever - Music From And Inspired By"]
Ryan Coogler, Ludwig Göransson, Robyn Fenty & Temilade Openiyi, songwriters (Rihanna)
73. Best Music Video Award to the artist, video director, and video producer. 74. Best Music Film For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
Live From Paris, The Big Steppers Tour
(Kendrick Lamar)
Mike Carson, Dave Free & Mark Ritchie, video directors; Cornell Brown, Debra Davis, Jared Heinke, Hank Neuberger & Jamie Rabineau, video producers

Dear Mama
(Tupac Shakur)
Allen Hughes, video director; Steve Berman, Jody Gerson, Allen Hughes, John Janick, Lasse Jarvi & Charles King, video producers
75. Best Recording Package
The Art Of Forgetting
Caroline Rose, art director (Caroline Rose)

Cadenza 21'
Hsing-Hui Cheng, art director (Ensemble Cadenza 21')

Electrophonic Chronic
Perry Shall, art director (The Arcs)

Gravity Falls
Iam8bit, art director (Brad Breeck)

Migration
Chang Yu Chung, Li Jheng Han & Yu Wei, art director (Leaf Yeh)

Stumpwork - WINNER
Rottingdean Bazaar & Annie Collinge, art directors (Dry Cleaning)
76. Best Boxed Or Special Limited Edition Package
The Collected Works Of Neutral Milk Hotel
Jeff Mangum, Daniel Murphy & Mark Ohe, art directors (Neutral Milk Hotel)

Gieo
Duy Dao, art director (Ngot)

Inside: Deluxe Box Set
Bo Burnham & Daniel Calderwood, art directors (Bo Burnham)

Words & Music, May 1965 - Deluxe Edition
Masaki Koike, art director (Lou Reed)
77. Best Album Notes
Evenings At The Village Gate: John Coltrane With Eric Dolphy (Live)
Ashley Kahn, album notes writer (John Coltrane & Eric Dolphy)

I Can Almost See Houston: The Complete Howdy Glenn
Scott B. Bomar, album notes writer (Howdy Glenn)

Mogadishu's Finest: The Al Uruba Sessions
Vik Sohonie, album notes writer (Iftin Band)

Playing For The Man At The Door: Field Recordings From The Collection Of Mack McCormick, 1958-1971
Jeff Place & John Troutman, album notes writers (Various Artists)
78. Best Historical Album
Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series, Vol. 17
Steve Berkowitz & Jeff Rosen, compilation producers; Steve Addabbo, Greg Calbi, Steve Fallone, Chris Shaw & Mark Wilder, mastering engineers; Michael H. Brauer, restoration engineer (Bob Dylan)

The Moaninest Moan Of Them All: The Jazz Saxophone of Loren McMurray, 1920-1922 Colin Hancock, Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer; Richard Martin, restoration engineer (Various Artists)

Playing For The Man At The Door: Field Recordings From The Collection Of Mack McCormick, 1958-1971
Jeff Place & John Troutman, compilation producers; Randy LeRoy & Charlie Pilzer, mastering engineers; Mike Petillo & Charlie Pilzer, restoration engineers (Various Artists)

Words & Music, May 1965 - Deluxe Edition
Laurie Anderson, Don Fleming, Jason Stern, Matt Sulllivan & Hal Willner, compilation producers; John Baldwin, mastering engineer; John Baldwin & Steve Rosenthal, restoration engineers (Lou Reed)
79. Best Engineered Album, Non-Classical An Engineer's Award. (Artists names appear in parentheses.)
Desire, I Want To Turn Into You
Daniel Harle, Caroline Polachek & Geoff Swan, engineers; Mike Bozzi & Chris Gehringer, mastering engineers (Caroline Polachek)

History
Nic Hard, engineer; Dave McNair, mastering engineer (Bokanté)

Multitudes
Michael Harris, Robbie Lackritz, Joseph Lorge & Blake Mills, engineers; Patricia Sullivan, mastering engineer (Feist)

The Record
Owen Lantz, Will Maclellan, Catherine Marks, Mike Mogis, Bobby Mota, Kaushlesh "Garry" Purohit & Sarah Tudzin, engineers; Pat Sullivan, mastering engineer (boygenius)
80. Best Engineered Album, Classical An Engineer's Award. (Artist names appear in parentheses.)
The Blue Hour
Patrick Dillett, Mitchell Graham, Jesse Lewis, Kyle Pyke, Andrew Scheps & John Weston, engineers; Helge Sten, mastering engineer (Shara Nova & A Far Cry)

Fandango
Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Anne Akiko Meyers, Gustavo Castillo & Los Angeles Philharmonic)

Sanlikol: A Gentleman Of Istanbul - Symphony For Strings, Percussion, Piano, Oud, Ney & Tenor
Christopher Moretti & John Weston, engineers; Shauna Barravecchio & Jesse Lewis, mastering engineers (Mehmet Ali Sanlikol, George Lernis & A Far Cry)

Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
81. Producer Of The Year, Classical A Producer's Award. (Artist names appear in parentheses.)
David Frost
The American Project (Yuja Wang, Teddy Abrams, Louisville Orchestra) (A)
Arc II - Ravel, Brahms, Shostakovich (Orion Weiss) (A)
Blanchard: Champion (Yannick Nézet-Séguin, Latonia Moore, Ryan Speedo Green, Eric Owens, Stephanie Blythe, Metropolitan Opera Chorus & Orchestra) (A)
Contemporary American Composers (Riccardo Muti & Chicago Symphony Orchestra) (A)
The Guitar Player (Mattias Schulstad) (A)
Mysterium (Anne Akiko Meyers, Grant Gershon & Los Angeles Master Chorale) (A)
Verdi: Rigoletto (Daniele Rustioni, Piotr Beczala, Quinn Kelsey, Rosa Feola, Varduhi Abrahamyan, Andrea Mastroni, The Metropolitan Opera Chorus & Orchestra) (A)

Morten Lindberg
An Old Hall Ladymass (Catalina Vicens & Trio Mediæval) (A)
Thoresen: Lyden Av Arktis - La Terra Meravigliosa (Christian Kluxen & Arktisk Filharmoni) (A)
The Trondheim Concertos (Sigurd Imsen & Baroque Ensemble Of The Trondheim Symphony Orchestra) (A)
Yggdrasil (Tove Ramlo-Ystad & Cantus) (A)

Dmitriy Lipay
Adès: Dante (Gustavo Dudamel & Los Angeles Philharmonic) (A) Fandango (Gustavo Dudamel, Anne Akiko Meyers & Los Angeles Philharmonic) (A)
Price: Symphony No. 4; Dawson: Negro Folk Symphony (Yannick Nézet-Séguin & Philadelphia Orchestra) (A)
Rachmaninoff: The Piano Concertos & Paganini Rhapsody (Yuja Wang, Gustavo Dudamel & Los Angeles Philharmonic) (A)
Walker: Lyric For Strings; Folksongs For Orchestra; Lilacs For Voice & Orchestra; Dawson: Negro Folk Symphony (Asher Fisch & Seattle Symphony) (A)

Elaine Martone - WINNER
Ascenso (Santiago Cañón-Valencia) (A)
Berg: Three Pieces From Lyric Suite; Strauss: Suite From Der Rosenkavalier (Franz Welser-Möst & The Cleveland Orchestra) (A)
Between Breaths (Third Coast Percussion) (A)
Difficult Grace (Seth Parker Woods) (A)
Man Up / Man Down (Constellation Men's Ensemble) (A)
Prokofiev: Symphony No. 5 (Franz Welser-Möst & The Cleveland Orchestra) (A)
Rachmaninoff & Gershwin: Transcriptions By Earl Wild (John Wilson) (A)
Sirventés - Music From The Iranian Female Composers Association (Brian Thornton, Katherine Bormann, Alicia Koelz, Eleisha Nelson, Amahl Arulanadam & Nathan Petipas) (A)
Walker: Antifonys; Lilacs; Sinfonias Nos. 4 & 5 (Franz Welser-Möst & The Cleveland Orchestra) (A)

Brian Pidgeon
Fuchs: Orchestral Works, Vol. 1 (John Wilson & Sinfonia Of London) (A)
Music For Strings (John Wilson & Sinfonia Of London) (A)
Nielsen: Violin Concerto; Symphony No. 4 (James Ehnes, Edward Gardner & Bergen Philharmonic Orchestra) (A)
Pierre Sancan - A Musical Tribute (Jean-Efflam Bavouzet, Yan Pascal Tortelier & BBC Philharmonic) (A)
Poulenc: Orchestral Works (Bramwell Tovey & BBC Concert Orchestra) (A)
Rachmaninoff: Symphony No. 3; Voclaise; The Isle Of The Dead (John Wilson & Sinfonia Of London) (A)
Schubert: Symphonies, Vol. 3 (Edward Gardner & City Of Birmingham Symphony Orchestra) (A)
Shostakovich: Symphonies Nos. 12 & 15 (John Storgårds & BBC Philharmonic) (A)
Tchaikovsky: Orchestral Works (Alpesh Chauhan & BBC Scottish Symphony Orchestra) (A)
82. Best Remixed Recording
(A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.)

Alien Love Call
BADBADNOTGOOD, remixers (Turnstile & BADBADNOTGOOD Featuring Blood Orange)

New Gold (Dom Dolla Remix)
Dom Dolla, remixer (Gorillaz Featuring Tame Impala & Bootie Brown)

Reviver (Totally Enormous Extinct Dinosaurs Remix)
Totally Enormous Extinct Dinosaurs, remixer (Lane 8)

Workin' Hard (Terry Hunter Remix)
Terry Hunter, remixer (Mariah Carey)
83. Best Immersive Audio Album For vocal or instrumental albums in any genre. Must be commercially released for physical sale or on an eligible streaming or download service and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).
Act 3 (Immersive Edition)
Ryan Ulyate, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Ryan Ulyate, immersive producer (Ryan Ulyate)

Blue Clear Sky
Chuck Ainlay, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Chuck Ainlay, immersive producer (George Strait)

God Of War Ragnarök (Original Soundtrack)
Eric Schilling, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Kellogg Boynton, Anthony Caruso, Peter Scaturro & Herbert Waltl, Immersive producers (Bear McCreary)

Silence Between Songs
Sean Brennan & Mike Piacentini, immersive mix engineers; Aaron Short, immersive mastering engineer; Madison Beer & Leroy Clampitt, immersive producers (Madison Beer)
84. Best Instrumental Composition A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
Amerikkan Skin
Lakecia Benjamin, composer (Lakecia Benjamin Featuring Angela Davis)

Can You Hear The Music
Ludwig Göransson, composer (Ludwig Göransson)

Cutey And The Dragon
Gordon Goodwin & Raymond Scott, composers (Quartet San Francisco Featuring Gordon Goodwin's Big Phat Band)

Motion
Edgar Meyer, composer (Béla Fleck, Edgar Meyer & Zakir Hussain Featuring Rakesh Chaurasia)
85. Best Arrangement, Instrumental or A Cappella An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.
Angels We Have Heard On High
Nkosilathi Emmanuel Sibanda, arranger (Just 6)

Can You Hear The Music
Ludwig Göransson, arranger (Ludwig Göransson)

I Remember Mingus
Hilario Duran, arranger (Hilario Duran And His Latin Jazz Big Band Featuring Paquito D'Rivera)

Paint It Black
Esin Aydingoz, Chris Bacon, Alana Da Fonseca, Mick Jagger & Keith Richards, arrangers (Wednesday Addams)
86. Best Arrangement, Instruments and Vocals
An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.

April In Paris
Gordon Goodwin, arranger (Patti Austin Featuring Gordon Goodwin's Big Phat Band)

Com Que Voz (Live)
John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring John Beasley & Metropole Orkest)

Fenestra
Godwin Louis, arranger (Cécile McLorin Salvant)

Lush Life
Kendric McCallister, arranger (Samara Joy)
87. Best Orchestral Performance Award to the Conductor and to the Orchestra.
Bartók: Concerto For Orchestra; Four Pieces
Karina Canellakis, conductor (Netherlands Radio Philharmonic Orchestra)

Price: Symphony No. 4; Dawson: Negro Folk Symphony
Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)

Scriabin: Symphony No. 2; The Poem Of Ecstasy
JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)

Stravinsky: The Rite Of Spring
Esa-Pekka Salonen, conductor (San Francisco Symphony)
88. Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.
Corigliano: The Lord Of Cries
Gil Rose, conductor; Anthony Roth Costanzo, Kathryn Henry, Jarrett Ott & David Portillo; Gil Rose, producer (Boston Modern Orchestra Project & Odyssey Opera Chorus)

Little: Black Lodge
Timur; Andrew McKenna Lee & David T. Little, producers (The Dime Museum; Isaura String Quartet)
89. Best Choral Performance Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
Carols After A Plague
Donald Nally, conductor (The Crossing)

The House Of Belonging
Craig Hella Johnson, conductor (Miró Quartet; Conspirare)

Ligeti: Lux Aeterna
Ragnar Bohlin, conductor (San Francisco Symphony Chorus)

Rachmaninoff: All-Night Vigil
Steven Fox, conductor (The Clarion Choir)
90. Best Chamber Music/Small Ensemble Performance For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
American Stories
Anthony McGill & Pacifica Quartet

Beethoven For Three: Symphony No. 6, 'Pastorale' And Op. 1, No. 3
Yo-Yo Ma, Emanuel Ax & Leonidas Kavakos

Between Breaths
Third Coast Percussion

Uncovered, Vol. 3: Coleridge-Taylor Perkinson, William Grant Still & George Walker
Catalyst Quartet
91. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.
Adams, John Luther: Darkness And Scattered Light
Robert Black

Akiho: Cylinders
Andy Akiho

Difficult Grace
Seth Parker Woods
92. Best Classical Solo Vocal Album Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.
Because
Reginald Mobley, soloist; Baptiste Trotignon, pianist

Broken Branches
Karim Sulayman, soloist; Sean Shibe, accompanist

40@40
Laura Strickling, soloist; Daniel Schlosberg, pianist

Rising
Lawrence Brownlee, soloist; Kevin J. Miller, pianist
93. Best Classical Compendium Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.
Fandango
Anne Akiko Meyers; Gustavo Dudamel, conductor; Dmitriy Lipay, producer

Julius Eastman, Vol. 3: If You're So Smart, Why Aren't You Rich?
Christopher Rountree, conductor; Lewis Pesacov, producer

Mazzoli: Dark With Excessive Bright
Peter Herresthal; Tim Weiss, conductor; Hans Kipfer, producer

Sardinia
Chick Corea; Chick Corea & Bernie Kirsh, producers

Sculptures
Andy Akiho; Andy Akiho & Sean Dixon, producers

Zodiac Suite
Aaron Diehl Trio & The Knights; Eric Jacobsen, conductor; Aaron Diehl & Eric Jacobsen, producers
94. Best Contemporary Classical Composition A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
Adès: Dante
Thomas Adès, composer (Gustavo Dudamel & Los Angeles Philharmonic)

Akiho: In That Space, At That Time
Andy Akiho, composer (Andy Akiho, Ankush Kumar Bahl & Omaha Symphony)

Brittelle: Psychedelics
William Brittelle, composer (Roomful Of Teeth)

Mazzoli: Dark With Excessive Bright
Missy Mazzoli, composer (Peter Herresthal, James Gaffigan & Bergen Philharmonic)
Watch All The Performances From The 2024 GRAMMYs: Tracy Chapman & Luke Combs, Billie Eilish, Olivia Rodrigo & More

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2024 grammys: see the full winners & nominees list | grammy.com

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2024 GRAMMYs: See The Full Winners & Nominees List | GRAMMY.com

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Music's Biggest Night saw history-making wins, exciting new Categories, and an incredible amount of talent. Check out the complete list of winners and nominees from the 2024 GRAMMYs.

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Aku dan tim Labsren Choir 2024 pergi ke bali untuk melakukan BICF 2024 pada tanggal 25 July kemarin. Kami berangkat tanggal 22 July pagi dan sampai di bali jam 1 siang. Lalu kami langsung pergi check in ke hotel dan beres-beres barang barang kita. Hari pertama kita pergi ke tempat lomba untuk mencoba stage dan latihan, hari kedua kita latihan dan datang ke acara opening ceremony dan hari ke tiga adalah hari kita lomba. Di hari itu kita bangun sangat pagi untuk sarapan dan antre untuk make up lalu kita pakai kostum dan berangkat untuk lomba.

Saat sampai di venue kita langsung bersiap-siap untuk menampilkan penampilan kita. Selesai tampil aku dan teman - teman ku lanjut dengan menonton penampilan oleh lawan kita. Setelah itu kita lanjut dengan makan siang dan pergi ke discovery mall untuk melakukan choir on the beach. Aku dan tim BICF bernyanyi di mall saat waktu sunset. Hari itu adalah hari paling seru saat disana.

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https://en.wikipedia.org/wiki/The_Princess_Diaries_(film)

Mia Thermopolis is a student at Grove High School residing with her single mother, Helen, in a refurbished firehouse in San Francisco. Unpopular among her peers, Mia suffers from a fear of public speaking while harboring a crush on Josh Bryant, and is often teased by his popular girlfriend, Lana Thomas. Mia's only friends are social outcast Lilly Moscovitz and her older brother, Michael, who secretly harbors feelings for Mia.

Mia learns from her estranged paternal grandmother, Clarisse, that she is the sole heir to the small European kingdom of Genovia, having inherited the throne from her recently deceased father, Philippe. Clarisse is determined to make Mia into a refined princess so that she may one day rule the kingdom over which Clarisse currently presides. Overwhelmed by the discovery, Mia initially refuses until her mother convinces her to attend her grandmother's "princess lessons" on the condition that she need not make her final decision until the Genovian Independence Day Ball in three weeks' time.

Mia receives a glamorous makeover and a limousine chauffeured by Joe, the queen's head of security and confidant, who becomes a father figure to her. Mia's transformation causes her schoolmates to treat her differently, while her increasingly hectic schedule strains her relationship with Lilly. To appease her best friend, Mia tells Lilly the truth and swears her to secrecy. However, the public soon learns that Mia is a princess after the secret is sold to the press by Paolo, the hairdresser responsible for Mia's makeover, and paparazzi begin to pursue her relentlessly. Although Mia embarrasses herself at her first state dinner, Clarisse admits that she found her clumsiness endearing and suggests that they spend quality time together, canceling their lessons for the following afternoon. While bonding, Clarisse explains that although Mia's parents loved each other, they divorced amicably in order to pursue their own passions, Philippe remaining in Genovia to eventually become king, and Helen returning to America with Mia to offer her a "normal" childhood.

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The Princess Diaries is a 2001 American coming-of-age teen comedy film produced by Walt Disney Pictures and directed by Garry Marshall. Based on Meg Cabot's 2000 young adult novel of the same name, the film was written by Gina Wendkos and stars Anne Hathaway and Julie Andrews, with a supporting cast consisting of Héctor Elizondo, Heather Matarazzo, Mandy Moore, Caroline Goodall and Robert Schwartzman. The film follows Mia Thermopolis (Hathaway), a shy American teenager who learns she is heir to the throne of a European kingdom. Under the tutelage of her estranged grandmother (Andrews), the kingdom's reigning queen, Mia must decide whether to claim the throne she has inherited or renounce her title permanently.

Feeling confident about the novel's film potential, Cabot's agent pursued producer Debra Martin Chase about adapting The Princess Diaries into a feature-length film, an idea she pitched to Disney upon reading the book. After obtaining the film rights, Disney originally greenlit the project under the title The Princess of Tribeca, reverting it once its setting was changed from New York to San Francisco, where the majority of the film was shot between September and December 2000. Marshall, who was known for helming several romantic comedies, agreed to direct because he found the story ideal for family entertainment. Despite having little involvement in the film's development, Cabot was consulted about various changes to its story and characters. Hathaway won the lead role over several established young actresses in her motion picture debut, while The Princess Diaries commemorated the end of Andrews' semi-retirement from acting and return to Disney films, her first since Mary Poppins (1964).

Released on August 3, 2001, the film was an unexpected commercial success, grossing over $165 million worldwide. Despite earning mixed reviews for its plot and themes, Hathaway's performance was widely praised by film critics. Ranking among the most profitable films of 2001, The Princess Diaries defied industry expectations as pundits had expected the film to underperform due to its G-rating and subject matter. The film's success is credited with establishing Hathaway as a bankable actress and reviving Andrews' film career. A sequel, The Princess Diaries 2: Royal Engagement, was released in 2004 to similar success, while rumors of a possible third installment have persisted since 2015.

Shy high school student Mia Thermopolis resides with her mother Helen in a refurbished firehouse in San Francisco. Unpopular among her peers, Mia suffers from a fear of public speaking while harboring a crush on Josh Bryant, and is often teased by his popular girlfriend Lana Thomas. Mia's only friends are social outcast Lilly Moscovitz (who has known her since childhood) and Lilly's older brother, Michael, who secretly harbors feelings for her.

Mia's estranged father dies, and she is visited by his mother Clarisse. Clarisse is the Queen of the European kingdom of Genovia, and she explains that Mia is now her sole heir. Clarisse is determined to groom Mia into a refined princess so that she may one day rule the kingdom over which Clarisse currently presides. Overwhelmed by the discovery, Mia initially refuses until Helen convinces her to attend her grandmother's "princess lessons" on the condition that she may need to not make her final decision until the Genovian Independence Day Ball in three weeks' time.

Mia receives a glamorous makeover and a limousine chauffeured by Joe, the queen's head of security and confidante, who becomes a father figure to her. Mia's transformation causes her schoolmates to treat her differently, while her increasingly hectic schedule strains her relationship with Lilly. To appease her best friend, Mia tells Lilly the truth and swears her to secrecy. However, the public soon learns that Mia is a princess after the secret is sold to the press by Paolo, the hairdresser responsible for Mia's makeover, and the paparazzi begin to pursue her relentlessly. Although Mia embarrasses herself at her first state dinner, the queen admits that she found her clumsiness endearing and suggests that they spend quality time together. While bonding, Clarisse explains that although Mia's parents loved each other, they divorced amicably in order to pursue their own passions, Philippe remaining in Genovia to eventually become King, and Helen returning to America with Mia to offer her a "normal" childhood.

As Mia's popularity grows, Josh invites her to attend a beach party with him. Mia accepts, causing her to neglect Lilly and forego her plans with Michael. Josh kisses Mia in front of the paparazzi to bolster his own fame, while Lana helps the paparazzi photograph Mia wearing only a towel; both photographs are printed in the newspaper the following day. Finding the photos inappropriate for a princess, Clarisse admonishes Mia for her behavior, after which a humiliated Mia promises to renounce her title. Joe reminds Clarisse that Mia is still only a teenager, suggesting that the queen, as a grandmother, was too hard on her only grandchild.

After making amends with Lilly, Mia finally stands up to Lana for bullying a schoolmate. Mia invites both Lilly and Michael to the ball but Michael declines, still heartbroken over Mia's initial dismissal. After Clarisse apologizes to Mia for scolding her, she states that Mia must publicly renounce the throne at the ball. Terrified by the prospect, Mia plans to run away until she discovers a touching letter from her late father and relents. Mia's car malfunctions while driving to the ball, stranding her in a downpour until she is retrieved by Joe.

When they finally arrive, Mia, still wet and untidy from the rain, delivers a compelling speech and accepts her role as Princess of Genovia. After changing into a gown, Mia accompanies Clarisse into the ballroom where Michael, who has accepted Mia's apology, invites her to dance before confessing their feelings for each other and sharing their first kiss. In the final scene, Mia is shown traveling to Genovia in a private plane with her pet cat Fat Louie, and writes in her diary that she plans to relocate to Genovia with her mother.

Julie Andrews as Clarisse Renaldi, Mia's grandmother and reigning Queen of Genovia

Anne Hathaway as Mia Thermopolis, heir to the throne and Princess of Genovia

Héctor Elizondo as Joe, Clarisse's head of security and Mia's limousine driver

Heather Matarazzo as Lilly Moscovitz, Mia's eccentric and socially conscious childhood best friend

Mandy Moore as Lana Thomas, a popular cheerleader who bullies Mia and other students

Caroline Goodall as Helen Thermopolis, Mia's mother; an artist

Robert Schwartzman as Michael Moscovitz, Lilly's older brother who harbors romantic feelings for Mia

Erik von Detten as Josh Bryant, a popular, egotistical student on whom Mia develops a crush

Patrick Flueger as Jeremiah Hart, a friend of Mia and Lilly's; an aspiring magician

Sean O'Bryan as Patrick O'Connell, Mia's English teacher who begins to date Helen

Sandra Oh as Geraldine Gupta, vice principal of Mia's school

Kathleen Marshall as Charlotte Kutaway, Clarisse's secretary

Mindy Burbano as Anita Harbula, Mia's gym teacher

René Auberjonois as the voice of Philippe Renaldi, Mia's late father and former Prince of Genovia

Gerald Hathaway, Hathaway's father, portrays Philippe in photographs and flashbacks

Larry Miller as Paolo Puttanesca, Mia's hairdresser and beautician

Patrick Richwood as Mr. Robutusen, Mia's neighbor; a writer

Mayor Willie Brown as himself

Fat Louie as himself, Mia's cat

The Princess Diaries is based on the young adult novel of the same name by author Meg Cabot. Cabot's agent believed that the first Princess Diaries book had strong film potential, and pursued film producer Debra Martin Chase, who had recently co-produced the television film Rodgers & Hammerstein's Cinderella (1997), about adapting the book into a film due to their similar " rags-to-riches" and "Cinderella-type" themes. Chase highly enjoyed the book and convinced Disney to adapt the novel into a feature-length production. Disney chairman Peter Schneider optioned the project in an "effort to re-establish the Disney brand for live-action family films". Cabot was thrilled to learn that Disney was interested in her book, the film rights for which the studio paid her $4,000, although some media outlets reported that Cabot had been offered "mid- to low-six figures". Cabot recalled that Disney's decision to adapt The Princess Diaries resulted in her getting promoted at her own job, prior to which she had struggled to convince publishers to publish her novel, the content of which some found inappropriate for young readers. Several publishers had rejected Cabot's manuscript before HarperCollins showed interest in 1999, followed by Disney shortly afterward.

By August 1999, the film was greenlit by Disney, who agreed to produce it with singer Whitney Houston's BrownHouse Productions, and Cabot's manuscript was forwarded to potential screenwriters. The Princess Diaries was Houston's first feature film production venture, and her studio's second film after Rodgers & Hammerstein's Cinderella. Chase developed the script with screenwriter Gina Wendkos. Although Cabot did not write the screenplay herself, she worked closely with Chase to discuss changes deemed necessary to translate the story from page to screen, maintaining that "The essence of the story, or the message, of staying true to yourself ... still comes through". Garry Marshall was enlisted as director, with Houston and Chase producing alongside Mario Iscovich. Marshall was invited to direct the project while he himself had been pitching ideas to Disney executive Nina Jacobson. Connecting with the material, Marshall found the story enjoyable for entire families, and was particularly drawn towards the idea of "a young girl turning into a woman and realizing that she can have a positive effect on the world". Marshall elaborated, "I wanted to do a fairy tale for the fairy tale crowd, which are the young girls and boys", hoping that the project to crossover to adult audiences as well. Furthermore, the director admitted to being fond of "female wish-fulfillment and empowerment movies"; Houston and Chase hoped that The Princess Diaries would be BrownHouse Productions' first in a series of female-led wish-fulfillment films, originally planning to remake the musical film (1976) as a follow up. However, Marshall nearly declined to work on the film due to a typo in the original treatment that read " The Princess Dairies", joking, "I thought it was a movie about privileged cows!"

The Princess Diaries was optioned to challenge the belief that children were losing interest in live-action films targeted towards girls, and Marshall was hired specifically to make a G-rated film "edgy and crazy and maybe something the adults will like". The film differs considerably from the novel. Initially intended to be set in New York like Cabot's book, the film was originally called The Princess of Tribeca. The title was reverted once the setting was changed to San Francisco, California, a decision Marshall made because the latter is home to both himself and his granddaughters, to whom the film is dedicated. Although Mia and Lilly remain environmentally and politically conscious, the filmmakers softened some of the more political aspects of their personalities to prevent the film from resembling "a political diatribe". Some aspects of the script were inspired by Cabot's own childhood, particularly when her mother began dating one of her teachers shortly after her father's death. Despite being consulted about such changes, Cabot preferred to distance herself from the creative process to preserve her own mental health in fear of compromising her vision for future novels, insisting that the book and film exist in separate universes. Cabot maintains that she had little creative input in the film, elaborating, "I don't think Garry Marshall needs 'help' to make a movie... from a novelist who has absolutely no experience in film-making." Although Cabot admitted that Disney consulted with her before making changes, she described their conversations as more informative than collaborative. Cabot acknowledged the challenge of adapting a 300-page novel, which she had written in the form of a diary, into a 90-page screenplay but was ultimately satisfied with the final results and Marshall's direction.

Chase decided that, in terms of ethnicity, the film's cast would remain faithful to the novel due to Mia and Clarisse ruling a European country, and Chase preferring to "make good movies" as opposed to limiting herself to African-American films. Anne Hathaway was cast in the lead role of Mia Thermopolis after Juliette Lewis, to whom the role had originally been offered, declined. 18 years-old at the time, The Princess Diaries was Hathaway's first major film role, for which she auditioned during a 26-hour layover in Los Angeles, California while traveling to New Zealand to film The Other Side of Heaven (2001). Her only prior acting credit had been in the short-lived television series . Hathaway was very nervous during her audition, to the point at which she fell out of her chair; her inherent clumsiness is credited with impressing Marshall. Several established young actresses had been considered for the role, including Reese Witherspoon, Kirsten Dunst, Alicia Silverstone, Jessica Biel, Claire Danes, Kate Hudson, Cameron Diaz, Drew Barrymore, Sarah Michelle Gellar, Brittany Murphy, Katie Holmes, Christina Applegate, Kate Beckinsale and Eva Mendes, while Liv Tyler was deemed a front-runner. Christy Carlson Romano was unable to audition due to scheduling conflicts while filming the Disney Channel series Even Stevens. Marshall's granddaughters ultimately convinced the director to cast Hathaway over Tyler because they felt that she possessed the more "princess-like hair".

The actress was cast based on her sole audition without performing a screen test. Although Marshall believed that several other actresses seemed capable of embodying Mia's comedic aspects, he determined that only Hathaway possessed "the grace and authority" to deliver the character's final speech. Hathaway identified with her character's struggles and personality, explaining, "Mia was very similar to the person I was in high school", describing herself as a wallflower to whom few paid attention and appreciating the opportunity to be herself in a film. Hathaway's appearance and performance reminded Marshall of Julia Roberts, whom he had directed to great success in the romantic comedy Pretty Woman (1990), describing her as a fusion of Roberts and comedian Harpo Marx due to her combination of glamour and physical comedy, which he also likened to his own sister Penny Marshall. Hathaway gained weight for the role to closer resemble "a regular teen". The actress credits Marshall with teaching her the most important lesson of her career: "You never know what's going to be a hit, so you might as well have fun making it."

Julie Andrews, who had been semi-retired from acting at the time, was cast as Clarisse Renaldi, Mia's grandmother and Queen of Genovia. Marshall personally invited Andrews to discuss the film with him; Andrews identified the director as "the hook" that convinced her to accept the role, having been a long-time fan of his work. She accepted the role based solely on her conversations with Marshall without reading Wendkos' script. Although Sophia Loren is rumored to have been offered the role, Marshall insists that Andrews is the first and only actress he considered, having been a fan of hers since Broadway's My Fair Lady (1956). Known for portraying princesses and nobility throughout her career, Andrews incorporated knowledge she had acquired about European royalty and mannerisms of Britain's royal family into her performance as Mia's regal mentor; Queen Elizabeth II herself had knighted Andrews one year prior, making her a Dame of the British Empire. Marshall allowed Andrews significant freedom to determine Clarisse's portrayal. Cabot was initially hesitant about Andrews' casting, fearing that the actress was too kind to play such a stern character, but ultimately relented upon seeing her interpretation, explaining that Andrews possessed "just the right amount of regalness mixed with grandmotherly warmth". Andrews also used the opportunity to mentor Hathaway, although she maintains that the younger actress required very little training: "She has great instincts, good talent ... She has this ability to do humor, comedy, very well. So other than actually honing her craft and learning from the doing, she has it all." The Princess Diaries was Andrews' first Disney film since Mary Poppins (1964), the role for which she had won an Academy Award for Best Actress 37 years prior, and her first feature film in 15 years.

Marshall cast Heather Matarazzo as Mia's best friend Lilly Moscovitz after casting director Marcia Ross introduced them to each other, insisting that Matarazzo is different from other actresses. Matarazzo attended a chemistry reading with Hathaway after auditioning for Marshall; Hathaway believes that the two actresses had met each other several times prior, none of which Matarazzo remembers, expounding, "I was such a sarcastic, little punk-ass kid that couldn't be bothered by cheerfulness" while "She's such a warmhearted, beautiful, sweet, soulful woman". Matarazzo insists that they got along well despite their differences, likening their on-screen chemistry to Richard Gere and Roberts' in Pretty Woman. Furthermore, the actress cites Marshall as her favourite director, whose positive energy she described as unrivaled by other directors. Matarazzo was also starstruck by the opportunity to work with Andrews, whose films she had idolized as a child, and often asked for the actress' autograph.

Héctor Elizondo was cast as Joe, Mia's limousine driver and Clarisse's head of security. Elizondo is known for appearing in all 18 films Marshall directed. Singer Mandy Moore was cast as Mia's school rival Lana Thomas, her first credited film role. Marshall was the first film director with whom Moore, sixteen years old at the time, ever worked; she recalled that the director "had no business casting me ... I didn't know what I was doing. So I think the highlight of the film was working with him." Moore also appreciated the fact that several most of her co-stars were similar to her in age, crediting the overall experience with setting her acting career "in motion". Robert Schwartzman was cast as Michael, Mia's love interest and Lilly's brother. His real-life band Rooney has a cameo appearance as garage band Flypaper, with Schwartzman playing their lead singer. The musicians perform " Blueside", one of Rooney's original songs. Schwartzman wanted to change his last name in the credits to Cage in honor of his cousin Nicolas Cage, but the film's promotional material had already been finalized. The Princess Diaries remains Schwartzman's only major film role.

Marshall cast several of his own family members in supporting and minor roles. Kathleen Marshall, Marshall's daughter, plays Clarisse's secretary Charlotte Kutaway. Charlotte's surname is only revealed during the closing credits; Marshall explained that the character was named after how often she is used in cutaway shots, and her role references the filmmaking technique in which "whenever anything goes wrong in the film, you cut away to someone". Marshall's wife appears as a ball guest, while his twin granddaughters Lily and Charlotte, the same granddaughters who inspired him to cast Hathaway, appear as a pair of schoolgirls asking for Mia's autograph. Marshall himself has a brief cameo during the Genovian Independence Day Ball, alongside sister Penny. San Francisco Mayor Willie Brown portrayed himself in a cameo appearance, during which he is briefly interviewed upon arriving at the same ball.

Further adjustments were made to finesse the script once the cast was finalized. Marshall was constantly conceiving new ways to make the film funnier, as Disney had challenged him to incorporate humor into the G-rated film. Marshall's approach to the film's humor was reminiscent of his television contributions to shows such as and The Odd Couple, the original scripts for which he revisited to remind himself how to approach family-oriented comedies. Matarazzo described the set as a collaborative environment, recalling that Marshall encouraged a family-like atmosphere abiding by his motto "Life is more important than show business." Marshall would sometimes hold parades for the entire crew, particularly when it was a cast or crew members' birthday. The director celebrated his own birthday while filming, during which Houston herself serenaded him with a rendition of " Happy Birthday". The character of Mia's grandmother, nicknamed "Grandmere" in the novel, is depicted as considerably kinder in the film. Disney's decision to have Mia's father be deceased in the film is among the most significant deviations from its source material, in which he is both alive and has an integral role. The producers decided to kill off Mia's father in favor of expanding her grandmother's role, which they had been considering offering to Andrews from the beginning. Upon learning that Disney was interested in casting a "big name" actress such as Andrews in the role, Cabot approved that Mia's father be eliminated, much of whose dialogue was re-written for Mia's grandmother. Marshall wrote Hathaway's childhood struggles with speaking while wearing a retainer into the film; the actress filmed a scene wearing the same retainer she had worn as a child. Elizondo and Andrews campaigned for a romantic relationship between their characters, an idea that originated during a table reading in which the actors uttered "you're cute" to each other. The actors improvised their dance sequence. Elizondo credits this with evolving his character into more than simply "a guy who drove a limo".

Upon Marshall's request, Andrews suggested that the fictional country of Genovia be famous for its pears, after which point the set was decorated with artificial pears and pear-shaped statues. Marshall worked with Larry Miller, who portrays Mia's hair stylist Paolo, to improvise humour moments, such as shrieking upon seeing Mia for the first time and drawing his styling tools from his pockets as though they are pistols. Wendkos wrote that Miller's Paolo was deliberately written as an "over-the-top" character. "Not you, I don't even know you", one of Matarazzo's most oft-quoted lines which she utters to someone while running down the street, was entirely improvised at the suggestion of Chase. Joe recites "No one can make you feel inferior without your consent" to Mia, a famous quote originally by former United States First Lady Eleanor Roosevelt. Mia recites one of Juliet's soliloquies from William Shakespeare's Romeo and Juliet, a deliberate reference to the fact that Hathaway shares her full name with Shakespeare's wife. Houston conceived the scene in which Mia smears her ice cream cone on Lana's cheerleader uniform. Wendkos spent more effort revising Mia's makeover sequence than any other scene in the filming, wanting to achieve a "clearer progression from the ugly duckling to the ingenue", as per Marshall's request.

The film contains several references to Pretty Woman, another film directed by Marshall to which The Princess Diaries has often been compared. In addition to sharing a " Pygmalion-esque transformation story", both films share several cast members. Both Elizondo and Miller had appeared in Pretty Woman. Most notably, actor Alan Kent, portraying a waiter, delivers the same line he once delivered to Julia Roberts' character in Pretty Woman during the scene in which Mia accidentally breaks a glass.

Set and locations

The Princess Diaries was filmed on a budget of $26 million. Principal photography took place between September 18 and December 8, 2000, with filming beginning one month before Cabot's novel was published. The Princess Diaries was filmed on Stage 2 at Walt Disney Studios in Burbank, California, the same sound stage on which Mary Poppins, which starred Andrews in the titular role, had been filmed during the 1960s. The stage was later renamed the "Julie Andrews Stage" in honor of the actress' contributions. Andrews recalled having to constantly walk up and down the set's main staircase while struggling to remain regal and composed in appearance. Additionally, Marshall resided in the same house that Andrews herself had rented while filming Mary Poppins, having lived in the building since 1974. Marshall joked that he and the actress had "amazing" karma due to sharing several similarities and coincidences. The Washington Post contributor Kristal Brent Zook remarked that Marshall and Andrews have also "proved themselves masters of the modern fairy tale" due to both of their repertoires consisting largely of romantic, Cinderella-themed material.

The film was shot on several locations throughout California, with Alverno High School serving as Mia's private school Grove High School. A refurbished fire station named Engine Company No. 43 was used as Mia and Helen's home, located on Brazil Avenue. In 2014, the building was listed for sale at $2.6 million. Mount St. Mary's College, formerly the Doheny Mansion, was used as the location for The Genovian Consulate. Unlike much of the film, which was filmed in San Francisco, the beach party sequence was filmed in Malibu. The production designers decorated Malibu's Zuma Beach to resemble San Francisco's Baker Beach.

To help Hathaway feel more comfortable on set, many of its props belonged to the actress' family. Mia's photograph of her late father is a photograph of Hathaway's own father, Gerald Hathaway. Gerald also briefly portrays the character during a flashback sequence in which he writes a letter to Mia. Mia's pet cat Fat Louie was portrayed by four different cats, one of whom was owned by Hathaway herself. Each cat served a different purpose: one was meant to be carried, another sat still for extended periods of time, a third was used for jumping and stunts, and the final (Hathaway's) is featured during the film's final scene. During the state dinner in which a guest's arm catches fire, the fire was intended to be extinguished once the actor placed his arm in a nearby ice bucket. However, when the fire persisted, Hathaway panicked and doused it with a glass of water, an improvisation that was kept in the film. Hathaway tripped and fell while filming a scene in which she is walking atop bleachers during the rain, but continued to recite her lines as though nothing had happened. Marshall found the unscripted incident funny and decided to retain it. Matarazzo, who had been filming the scene with Hathaway, identified this moment as "a testament to the kind of person that she is, not just professionally but personally... You fall, you laugh, and you keep going". She also identified this as her favorite moment while filming. While filming the final dance sequence, the crew played Madonna's " Like a Prayer" (1989) for the cast to dance to; multiple takes were required because the cast kept instinctively lip syncing its lyrics. The track was dubbed by a different song in the final edit.

Costume design

Costume designer Gary Jones, who had worked with Marshall prior, after they were together as a couple for 10 years they were drawn to the film due to the wide range of costumes required for its characters, describing the project as "a costume designer's dream come true". Jones worked closely with Andrews while designing Clarisse's costumes, drawing inspiration from Chanel, Bill Blass and Christian Dior. The gown Andrews wears to the state dinner is an homage to her stage role as My Fair Lady's Eliza Doolittle, which was handmade in China. Jones envisioned Mia as a character who is shy about her body at first, opting to dress her in layers consisting of long sleeves and loose-fitting clothing. The actress' periwinkle state dinner gown was inspired by a dress worn by Princess Victoria of Sweden, with Jones describing it as "a bow to the Renaissance and Romeo and Juliet", accessorizing it with an 18-carat diamond ring.

Both Hathaway and Andrews' tiara's were designed and custom-made specifically for their respective actresses, with the designers ensuring that both characters' crowns were appropriate for their age. The tiara and jewelry Andrews wears during the final scene consists of half a million dollars' worth of diamonds, loaned to the production by jeweler Harry Winston, with whom Jones worked closely to obtain several unique jewels. A security guard followed Andrews at all times to both protect her and ensure that all jewels were returned at the end of each day. Andrews' peach taffeta ballgown was accessorized with a 100-carat necklace comprising four rows of diamonds. Hathaway's tiara was considerably less expensive, consisting of cubic zirconia as opposed to authentic jewels. The crowns and tiaras worn by both actresses are preserved by the Walt Disney Archives, into which they were inducted in 2016 to commemorate the film's 15th anniversary.

Hathaway donned false eyebrows and a wig to make her character's makeover more dramatic. Hathaway's hair piece was nicknamed "The Beast", while her eyebrows required one hour to apply; each strand of hair was glued to her brow individually. At times Hathaway was required to leave the set in full costume, claiming that she "never felt so alone in [her] entire life".

Andrews explained that the film is as much "about what you are inside and the responsibility and just plain old hard work that goes into being a princess" as it is "about the trappings of being a princess". Hathaway identified "remaining true to yourself" among the film's core values, describing Mia's transformation as both emotional and psychological, in addition to physical. Hathaway elaborated that, despite the makeover, her character most importantly learns that "life shouldn't be about what the rest of the world can do for her" but rather "doing everything in her power to help other people", emphasizing her emotional transformation over her physical one. Chase regards the plot as an "empowerment story", identifying "the power to be anything that you want to be" as its core message. Chase elaborated, "In the beginning, Mia looks in the mirror and doesn't think she's princess material at all" but ultimately "comes to believe that she is". Houston echoed that being a princess "doesn't mean they have to come from royalty" but rather "how you feel inside about yourself it's how you treat yourself and love yourself that really matters." contributor Veronica Walsingham wrote that the film explores feminism, identity, family, girlhood, and duty, believing that The Princess Diaries "is a feminist dream of fully developed female characters whose arcs aren't dependent on male characters", additionally passing the Bechdel test. A critic for Time Out wrote that the film discusses "responsibility, surrogacy, rites of passage and the value of friendship".

Most of Marshall's films revolve around themes "of recognizing and embracing one's own unique qualities and gifts". The Globe and Mail's Liam Lacey observed that the film adheres to a traditional fairy tale plot: "a fairy godmother, and the lowly girl who becomes a princess, complete with tiara, the dress and a plump frog to be transformed into Prince Charming". The Princess Diaries has been noted to contain some romantic comedy elements. The film has also drawn comparisons to Pygmalion, a play that provided the basis for the stage musical My Fair Lady, in which Andrews coincidentally originated the role of Eliza Doolittle; Mia has been compared to Eliza. Identifying Pygmalion as "the model for all subsequent dramas about the recreation of social identity", The Guardian film critic Philip French cited The Princess Diaries as one of several "makeover drama[s]" inspired by the play. Similarly, contributor Matthew recognized the film among several "recent approaches" to the Pygmalion story. Jacobs Kristal Brent Zook of The Washington Post wrote that Clarisse "must ... remake the gawky girl into a vision of regal grace" in "true Henry Higgins fashion", a character from My Fair Lady. The Seattle Times film critic Moira Macdonald joked that Andrews "play[s] Henry Higgins to young Anne Hathaway's Eliza". Also writing for The Washington Post, Michael O'Sullivan similarly observed that "Most of the comedy mileage comes from the My Fair Lady scenario, in which Mia's initially frumpy appearance and klutzy manner are eliminated through a regime of industrial-strength cosmetology and boot camp-style finishing school."

Nanciann Cherry, writing for , reviewed the film as "no more and no less than a live-action Cinderella, all dolled up for the 21st century". Amy Meadows, writing for , remarked that the film would hold few surprises for anyone who has seen Cinderella, My Fair Lady, or any other fairy tale. The film's main characters react differently towards Mia's physical transformation; Lilly fears that Mia will abandon her, Michael's attraction towards her only grows, and Lana feels threatened by Mia's royal lineage and sudden popularity within her own school. Some critics were concerned that the film's message might encourage younger viewers "that all awkward teens need do to find contentment is get a makeover and wait for a hitherto unknown royal grandmother to come lay a crown on their heads."

Houston and BrownHouse Productions were heavily involved in curating music for the film, which Kristal Brent Zook of The Washington Post observed "displays more girl power and ethnic flavor than the film does". Dawn Soler served as the film's music supervisor, and Moore recorded a cover of Connie Francis' " Stupid Cupid" for the soundtrack. Composer John Debney was recruited to score the film. Long-time friends with Disney executive Bill Green, Green felt that Debney would complement the film and personally recommended him to Marshall. Debney identified The Princess Diaries as one of the films he is most proud to have worked on, explaining that the project holds an "emotional connection" because it reminds him of his mother.

The official soundtrack was released by Walt Disney Records on July 24, 2001. Described as largely a collection of pop rock, teen pop, and dance-pop tracks, the soundtrack features contributions from artists BBMak, Aaron Carter, Backstreet Boys, Myra, Hanson and B*Witched. AllMusic's Heather Phares reviewed that the album consists of mostly "slick, virtually interchangeable singles ... a few tracks, for better or worse, are particularly distinctive", and felt that the album could have benefited from more originality as the Backstreet Boys' track "What Makes You Different (Makes You Beautiful)" implies. A soundtrack consisting exclusively of the film's orchestral score was released on December 11, 2001, credited to Debney.

Disney attempted to market the film cleverly to dispel the stigma associated with G-rated films at the time. The Princess Diaries premiered on July 29, 2001 at the El Capitan Theatre. Prior to introducing the film, Marshall encouraged audience members to chant "G is a good rating", deliberately referencing the lack of G-rated films released that year. A princess-themed tea party was hosted following the screening, with cast members Andrews, Hathaway, Matarazzo, Moore, Goodall, Schwartzman, Von Detten and Burbano attending. In addition to Jacobson, Disney executives Bob Iger, Richard Cook, Mark Vahradian, Chuck Viane and Oren Aviv were present, as well as actors Spencer Treat Clark, David Hasselhoff, Jennifer Love Hewitt and Michelle Trachtenberg. Additionally, the tea party featured appearances by actors portraying well-known Disney Princesses, including Snow White, Cinderella, Aurora and Belle.

Disney postponed the release of The Other Side of Heaven, which Hathaway had filmed before The Princess Diaries, to allow the latter film to take precedence at the box office, feeling confident that The Princess Diaries' impending success would in turn bolster the performance of The Other Side of Heaven. The Princess Diaries was released in theaters on August 3, 2001, becoming a surprise success and sleeper hit. The film opened in 2,537 theaters throughout North America and earned more than $23.2 million during its opening weekend, completing in third place behind and Planet of the Apes. The Princess Diaries achieved the second-highest opening earnings for a live-action G-rated film, behind 101 Dalmatians (1996) at $33.5 million. The film's box office returns surprised several commentators, far exceeding pundits' expectations. Analysts originally estimated that the film would earn between $13 and $15 million.

The Princess Diaries was the only G-rated film released during summer 2001. According to Breuse Hickman of The Honolulu Advertiser, the last live-action film to earn a G-rating prior to The Princess Diaries was Disney's 101 Dalmatians in 1996, a live-action remake of their own 1961 animated film of the same name. ABC News believes that the comedy's strong opening numbers benefited from it being one of 2001's few G-rated releases amidst several of PG-13-and R-rated films, to which parents reportedly rushed to see with their children, while Allen Wan of MarketWatch joked that the family friendly rating "didn't scare off mature audiences". However, The Dove Foundation argued that family fare such as The Princess Diaries is typically 11 times more profitable than adult-oriented films, although 12 times as many R-rated films were released between 1989 and 2003. Dove Foundation CEO Dick Rolfe received the film's release as "an experiment to test the waters to see if there is a market for truly wholesome family entertainment at the theaters". The Princess Diaries ultimately grossed $165.3 million worldwide, collecting $108.2 million in the United States and Canada, and $57.1 million in other territories. The film's box office returns were deemed remarkably high considering the fact that its lead role was played by a newcomer. The film ranks among the highest-grossing and most profitable of 2001.

To commemorate the film's 10th anniversary in April 2012, the film was released on Blu-ray to coincide with Disney's National Princess Week and the release of Andrews' book The Very Fairy Princess: Here Comes The Flower Girl!. A double-disk paired with The Princess Diaries 2: Royal Engagement, the release was sold exclusively at Target.

The Princess Diaries earned mixed reviews from film critics upon release. Review aggregator Rotten Tomatoes reports that 48% of 115 critics surveyed reviewed the film positively. The website's critical consensus reads, "A charming, if familiar, makeover movie for young teenage girls." Metacritic assigned the film a weighted score of 52 based on 27 reviews, indicating "Mixed or average reviews". Ed Park, writing for The Village Voice, reviewed the film as "a modest, enjoyable fairy tale that easily outcharms its animated stablemates of the past decade", continuing, "The movie hits its timeworn marks with grace and wit, thanks to game gamine Hathaway and an effortlessly regal Andrews." Calling The Princess Diaries "an ideal family film", Kevin Thomas of the Los Angeles Times commended Marshall's ability to "mak[e] make-believe seem real" while describing Wendkos' screenplay as "skillfully adapted" and praising Andrews' performance. Awarding the film a B+, Entertainment Weekly film critic Lisa Schwarzbaum wrote that Marshall "directs Gina Wendkos' girl-wise script ... with avuncular affection and, by his standards, a minimum of court jestering, and he encourages moments of appropriate delirium among his large cast", highlighting Andrews and Oh's contributions and dubbing it a "charming ... production" that "gets the duckling-to-swan ambivalence just right".

Film critic Mick LaSalle, writing for , called the film superior to Marshall's Pretty Woman, going on to deem it "Marshall's best movie". Dubbing Clarisse "Andrews' best showcase in years", LaSalle credited most of the film's humor with Andrews' performance, specifically her reaction to Hathaway's gimmicks. The Washington Post film critic Michael O'Sullivan wrote that, despite the film's younger target demographic, "there's enough bile and phlegm souring up the sweet main story to appeal to even those of us with more mature tastes." Although Christine Dolen of the Miami Herald believed Mia's clumsiness is "by far the most winning things about" the film, she felt that the script "leaves much to be desired -- like an intriguing storyline, any semblance of believability or choices beyond the obvious". She ultimately credited Andrews and Hathaway's performances with saving the picture. Robert Koehler of Variety felt Marshall and Wendkos "waste the charming comic tone and observations of Cabot's book, especially ... where the reformation of Mia is depicted almost off-handedly". Koehler criticized the film for squandering comedic opportunities by focusing on Mia's school and romantic relationships as opposed to her grandmother's training. However, he felt Andrews and Elizondo were perfectly cast, and commended Hathaway's comedic instincts. The Globe and Mail's Liam Lacey agreed that "Surprisingly little time is spent mining the comic potential of Mia's education, with the comedy rationed in favour of a tiresome amount of attention lavished on her ongoing school problems", but concluded that Marshall deserves "credit for his keen sense of historical symmetry in the perfect casting of Julie Andrews". Praising the cast's chemistry, Loren King, writing for the Chicago Tribune, credited Andrews' performance with "kick[ing] the film's class quotient up several notches".

Hathaway's performance was widely praised by film critics, as was her chemistry with Andrews. LaSalle wrote, "Hathaway is not a natural comic, but her acting has a truthfulness that gives The Princess Diaries its emotional core. She is also a chameleon, who, from the most unpromising of beginnings, blossoms before our eyes into near- Audrey Hepburn-level loveliness", additionally commending her chemistry with Matarazzo. Elvis Mitchell, film critic for The New York Times, found the film to be merely "a blandly reassuring comedy" but described it as perfectly cast, hailing Hathaway as "royalty in the making, a young comic talent with a scramble of features". However, Mitchell felt that her character becomes less interesting once she undergoes her makeover and predicted that some viewers will find the sequence problematic. Similarly, The Seattle Times' Moira Macdonald felt that the film could have done without Mia's "teen-queen makeover, which made her look alarmingly like a junior Julia Roberts", but wrote that Andrews "tucks the film into her carpet bag and walks away with it", crowning her "pure screen royalty".

Even the film's most staunch detractors enjoyed Hathaway's efforts, with several critics comparing Hathaway to a "young" Julia Roberts. Lacey felt Mia "does a reasonable impression of a fashion model going through a geek-chic phase", comparing her to Roberts and predicting her successful film career. Asher Price, reviewing for The Denver Post, lauded Andrews' contribution while identifying Hathaway as "a good match for" the veteran actress. Branding the film "a surprisingly sophisticated comedy" that avoids common teen tropes, Price enjoyed the training sequences but felt Mia's confidence is drawn solely from her physical transformation, describing the latter as "The only disturbing part of the film". Despite being unimpressed with his direction, the New York Post film critic Lou Lumenick commended Marshall for "showcas[ing] Hathaway's star quality in a way that's more than a little reminiscent of his most famous film, Pretty Woman" and praised Elizondo's contribution. ' James Berardinelli panned the film, accusing Marshall of exploring a predictable plot "in a thoroughly uninteresting way" by "reducing characters to types and heaping mounds of saccharine and false sentiment on top". Film critic Roger Ebert dismissed the film as a "swamp of recycled ugly duckling stories, with occasional pauses in the marsh of sitcom cliches and the bog of Idiot Plots", finding it predictable, poorly edited and Hathaway too physically attractive to offer a convincing transformation. Salon film critic Stephanie Zacharek reviewed the film as "so aggressively bland and inoffensive that it practically recedes from the screen". Zacharek is also one of the few film critics to deride the leads' performances, dismissing Andrews as "so shellacked and precise ... that it makes you want to run out of the theater and roll around in the dirt".

The Princess Diaries won the Young Artist Award for Best Family Feature Film - Comedy. Debney's score won the ASCAP Award for Top Box Office Film, one of three awards the composer received at the 17th Film and Television Music Awards ceremony. Myra's song " Miracles Happen (When You Believe)" received an ALMA Award nomination for Outstanding Song in a Motion Picture Soundtrack. Casting directors Marcia Ross, Donna Morong and Gail Goldberg were nominated for an Artios Award for Feature Film Casting - Comedy.

At the Broadcast Film Critics Association Awards, The Princess Diaries was nominated for Best Family Film - Live Action. The film's trailer was nominated for a Golden Trailer Award for Best Animation/Family. Makeup artists Hallie D'Amore and Leonard Engelma were nominated for a Hollywood Makeup Artist Hair Stylist Guild Award for Best Contemporary Makeup - Feature. Hathaway received an MTV Movie Award nomination for Breakthrough Female Performance. The Princess Diaries was nominated for two Teen Choice Awards: Choice Movie: Actress, Comedy for Hathaway and Choice Movie: Comedy.

A sequel, The Princess Diaries 2: Royal Engagement, was released on August 11, 2004, with Garry Marshall returning to direct and Debra Martin Chase to produce the sequel. Unlike the first film, it is not based on any of the books. Most of the cast returned for the sequel, including Anne Hathaway, Julie Andrews, Héctor Elizondo, Heather Matarazzo, and Larry Miller. New cast and characters include Viscount Mabrey ( John Rhys-Davies), Lord Nicholas Devereaux ( Chris Pine), and Andrew Jacoby ( Callum Blue). There has been constant speculation about whether or not a third film will be released for several years. Several cast members have expressed interest in returning for a third installment, particularly Hathaway and Andrews. In 2016, Marshall revealed that he had discussed the possibility of having a third film set in New York with both actresses. Interest has bolstered following Marshall's death in 2016, with Cabot revealing that a script for the third film already exists, indicating that the threequel would most likely be a tribute to Marshall.

In January 2019, Hathaway confirmed there is a script being written for a third film and that she, Julie Andrews, and producer Debra Martin Chase are on board.

Elite Daily contributor Alana Altmann described the film as "a bonafide fave of '90s and 2000s kids alike". Writing for the same publication, Kristen Perrone called the film "an essential part of the childhoods of anyone who grew up in the early 2000s". Andrews attributes the film's longevity to the notion that a new generation discovers it "every seven years". The actress believes the film continues to resonate with audiences "because it's got a wonderful heart. It's about responsibility and obligation and decency and growing up and discovering who you are inside." Seventeen ranked The Princess Diaries the 10th best "Best Teen Movies You Can't Grow Up Without Watching". The scene in which Mia undergoes a physical makeover has garnered significant attention, with several media publications ranking it among the greatest makeover sequences in film history. E! contributor McKenna Aiello identified the montage as "the first scene that comes to mind" when remembering The Princess Diaries, a sentiment with which agreed. Lauren Hubbard, writing for , believes the film "may very well be one of the single greatest makeover movies of our generation", publishing a list of "11 Beauty Lessons We Learned from The Princess Diaries". Cosmopolitan's Eliza Thompson wrote "Few makeover movies hold up as well as The Princess Diaries". Katie Rosseinsky of credits the film with introducing "one of the best makeover sequences in teen movie history" while teaching "excellent life lessons". Ranking it second, hailed the scene as "the best teenage makeover ever". Total Beauty ranked the montage ninth, dubbing it the "Best Hair Movie Makeover".

Bustle writer Veronica Walsingham believes that The Princess Diaries' makeover sequence distinguishes itself from similar scenes because "it's an actual makeover" involving a complete physical transformation, whereas several other films "feature a female character who is made over by ... taking off her glasses". placed the scene seventh on their "Definitive Ranking of the Best Movie Makeovers", with author Andrew Gruttadaro calling Mia's final reveal from behind two photographs of her former self a highlight. When rumors of a third installment of the series were denied by Disney in 2015, Entertainment Weekly editor Isabella Biedenharn advised disappointed fans to seek comfort by watching the original film's makeup sequence. The sequence's popularity has resulted in makeover sequences becoming something of a trademark for Hathaway, whose characters have undergone similar transformations in subsequent films such as Ella Enchanted (2004), The Devil Wears Prada (2006) and Les Misérables (2012), with some media publications crowning her the "queen of makeover movies". The mint sorbet Mia consumes as a palate cleanser during the state dinner has frequently been commented upon in the media. Describing the dessert as "the element of the movie that has always stood out the most", Priya Krishna, a food writer for , reported that since the film's release, food bloggers have attempted to recreate the dessert and celebrities have commented upon it on social media, concluding, "nothing ... has been so simultaneously mystifying and fascinating to me as the palate cleanser in The Princess Diaries", crediting it with inspiring her career trajectory. Zimbio ranked the confection one of the "Top 20 Movie Desserts Of All Time".

In her biography for Hathaway, Rebecca Flint Marx of AllMovie wrote that Hathaway "became a familiar face to millions of moviegoers thanks to her starring role in" The Princess Diaries by "prov[ing] her comedic timing" and in turn opening "a number of doors" for her as a performer. Hathaway suffered from being typecast in "good girl" roles in Hollywood, and struggled to pursue more serious, non-princess roles; this would inspire her to pursue a wider range of films as possible. Hathaway explained that "Because I became so associated with The Princess Diaries ... my main [criterion] is to look for the opposite of what I last did." Hathaway commemorates the film's release date every year, thanking "the universe ... because that was the day that dreams came true for me". Marie Claire ranked The Princess Diaries Hathaway's second greatest film performance, describing the "SHUT UP" her character utters upon discovering she's a princess as iconic. The website NewNowNext credits The Princess Diaries with beginning to establish Hathaway as a gay icon, comparing her debut as a "reluctant princess" to that of actress Audrey Hepburn in Roman Holiday (1953). The film is credited with reviving Andrews' film career and introducing her to a younger generation of fans, rivaling her career-defining performances in Mary Poppins and The Sound of Music (1965) in terms of popularity. The film's popularity is credited with "catapult[ing] Cabot from writer to celebrity". Cabot remarked that the novels had actually been intended for slightly older readers, but parents who saw the G-rated film would purchase the books for their 6-7-year-old children, unintentionally exposing them to teen content.

When Marshall died in July 2016, several cast members paid tribute to the late director online. Following Marshall's death, The Daily Telegraph film critic Robbie Collin wrote that The Princess Diaries is "by no means a flawless movie", but rather "one from which a star was able to bounce out, eyes bright, teeth flashing and primed for adoration. Marshall's films may never have made him a critical darling, but his best work thrived on smile power - on both the faces of his audience and cast." When the film was released on Netflix in 2018, the streaming service tweeted their surprise at the revelation that Houston served as a producer on the film, inspiring several Twitter users to comment the same. The film's popularity among audiences has since defied expectations initially indicated by its lukewarm reception nearly two decades after its release. Observing that the film experienced a renaissance in 2018, Walsingham credits the film's resurgence to its release on Netflix and American actress Meghan Markle's marriage to Prince Harry, whose narrative has been compared to Mia's role in The Princess Diaries in the media, particularly the fact that Markle underwent "duchess training" for the title.

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The Princess Diaries is a 2001 American coming-of-age teen comedy film produced by Walt Disney Pictures and directed by Garry Marshall. Based on Meg Cabot's 2000 young adult novel of the same name, the film was written by Gina Wendkos and stars Anne Hathaway and Julie Andrews, with a supporting cast consisting of Héctor Elizondo, Heather Matarazzo, Mandy Moore, Caroline Goodall and Robert Schwartzman.

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Teman saya sangat menyukai shadow sampai ia bawa kemana - mana. Ia membawa boneka shadow nya saat dia tidur, berenang dan lain lain. Saking sukanya ia selalu nge post bonekanya di account instagramnya dia kita sebut saja orangnya dengan inisial b.

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Shadow the Hedgehog is a fictional character appearing in Sega's Sonic the Hedgehog franchise. Shadow was created by Takashi Iizuka and Shiro Maekawa, and first made his debut in Sonic Adventure 2 (2001). Although this was intended to be his only appearance, Shadow proved so popular among fans that developer Sonic Team decided to include him in Sonic Heroes (2003). Shadow has since featured in numerous entries in the franchise, including the spin-off Shadow the Hedgehog (2005). He also appears in Sonic film and television adaptations, comics, and merchandise.

Within the Sonic franchise's fictional universe, Shadow is an artificial, anthropomorphic black hedgehog created by Professor Gerald Robotnik, the grandfather of series antagonist Doctor Eggman. After witnessing the murder of his best friend Maria, Shadow vows to keep his promise to her that he would protect the world from danger. As an antihero, Shadow has good intentions but will do whatever it takes to accomplish his goals, putting him at odds with series protagonist Sonic the Hedgehog, thus serving as one of the eponymous title character's greatest rivals, if not the greatest. Shadow shares many attributes with Sonic and thus controls similarly in games, but is distinguished by his use of vehicles and firearms.

The idea for Shadow originated during the development of the original Sonic Adventure, with Iizuka and Maekawa ensuring he would be a subtle, " cool" character players could care about. Although Shadow is one of the series' most popular characters and was named one of the greatest video game characters by Guinness World Records in 2011, he has proven divisive among video game journalists. Some have praised his role in Sonic Adventure 2 and his levels' preservation of the Sonic theme, but others have criticized his dark and over-the-top characterization. The Shadow game sold well, but received generally unfavorable reviews.

Shadow is an anthropomorphic black hedgehog appearing in Sega's Sonic the Hedgehog series of platform games and its various spin-offs. He first appeared in the 2001 installment Sonic Adventure 2, the final Sonic game released for a Sega Dreamcast. His roles in the games vary. Some, such as the main series games Sonic Adventure 2, Sonic Heroes (2003), and Sonic the Hedgehog (2006) feature him as a major playable character, and he is the protagonist of the spin-off Shadow the Hedgehog (2005) and a downloadable content (DLC) package for Sonic Forces (2017). Others, such as the anniversary game Sonic Generations (2011), limit him to a non-playable role.

In the games, Shadow is depicted as a mysterious, sharp-witted, and brooding antihero. While his ultimate goal is to protect the world from danger, he dislikes humanity, and once he has set a goal, he does whatever it takes to accomplish it. This often causes him to take risks without thinking them through and puts him at odds with series protagonist Sonic the Hedgehog. Although a loner, Shadow collaborates with treasure hunter Rouge the Bat and renegade robot E-123 Omega in games such as Sonic Heroes, Sonic the Hedgehog (2006), and Sonic Forces. Shadow allies with Sonic in some games, but also does so with Doctor Eggman in Sonic Adventure 2 and Shadow the Hedgehog.

Shadow shares many similarities with Sonic. Visually, 's Ben Stahl described Shadow as "an evil version of Sonic himself-similar in appearance, but with darker skin, more angled eyes, and a fearsome snarl instead of Sonic's trademark grin." GamesRadar+'s Justin Leeper said that if Sonic was Superman, then Shadow would be his Batman. The characters control similarly in games, as both share skills and the ability to run at great speeds. Shadow has unique attributes in some games, such as his uses of firearms and vehicles in Shadow the Hedgehog and Sonic the Hedgehog, respectively. He can also use the Chaos Emeralds to perform "Chaos Control"-allowing him to distort time-and create weapons like spears. Like Sonic, Shadow can transform into a "Super" form giving him special powers.

Shadow was created by Takashi Iizuka and Shiro Maekawa, who respectively served as director and writer of Sonic Adventure 2. According to Iizuka, the idea for Shadow originated during development of the original Sonic Adventure, when Sonic Team intended to introduce a rival for Sonic in a potential sequel. Although they rarely discussed the idea, the staff continually thought about it. Eventually, while work on Sonic Adventure 2 progressed, Sonic Team found use in Shadow when they laid out the game's " good vs. evil" plotlines. Shadow's name at the beginning of development was "Terios" ("reflection of"), referencing his role as Sonic's doppelganger. Sonic Team tasked Maekawa with developing Shadow, whom they wanted to look just as " cool" as Sonic. Maekawa settled on the design of a black hedgehog, but struggled coming up with his personality. One night, while he brainstormed lines for a scene in which Sonic confronts Shadow for impersonating him, Maekawa came up with Shadow's first line: "Hmph, aren't you the fake one here?" As part of shaping his subtle character, Maekawa envisioned Shadow would refer to himself using the more humble Japanese pronoun boku (僕). Iizuka made sure that Shadow's introduction also brought new events to the game, as he wanted players to care about the character.

Sonic Adventure 2 was intended to be Shadow's only appearance, but his popularity among fans led to him returning in 2003's Sonic Heroes. Additionally, Sonic Team wanted to feature Shadow in a spin-off game. By 2005, Sonic Team was interested in developing a high-speed shooter game. They chose to focus on Shadow-whom they felt would provide "the perfect venue... to try our hand at this genre"-leading to the development of Shadow the Hedgehog. Series co-creator Yuji Naka hoped Shadow would lead to a spin-off series about the character. When developing Shadow's design and world, Sonic Team was influenced by films such as Underworld (2003), Constantine (2005), and those in the Terminator series. The team abandoned Shadow's shooting gameplay when working on Sonic the Hedgehog in 2006. Instead, director Shun Nakamura emphasized combat to differentiate his gameplay from that of Sonic's; while Sonic was designed for speedy platforming, Shadow was designed for fighting enemies. After Sonic and the Black Knight (2009), Shadow did not appear as a playable character in a Sonic platformer for some time, until the release of Sonic Forces in 2017. Nakamura explained that Sonic Team brought Shadow back for Sonic Forces so it would appeal to fans of the Adventure games, as the character is "extremely popular" among that group. Iizuka has commented that another Shadow-oriented spin-off is a possibility.

Voice portrayal

In Japan, Kōji Yusa voices Shadow. The character's English voice actor has changed several times. David Humphrey was the first to assume the role, but was replaced by Jason Griffith, who voiced Shadow and Sonic in the English dub of the anime series (2003-2006), for Shadow the Hedgehog in 2005. Ryan Drummond briefly filled in for David Humphrey as Shadow's voice during the Final Hazard boss level in Sonic Adventure 2. Kirk Thornton has since voiced Shadow from 2010 onwards, starting with Sonic Free Riders. Ian Hanlin voices the character in Sonic Prime.

Within the Sonic series' fictional universe, Shadow the Hedgehog is an artificial being created by Professor Gerald Robotnik through genetic engineering as part of an experiment to cure his granddaughter Maria from a deadly illness. While Shadow and Maria formed a strong bond, the government deemed him a threat. Shadow was placed in suspended animation and a military organization, the Guardian Units of Nations (G.U.N.), killed Maria as Shadow tried to protect her. Maria's death traumatized Shadow, who vowed to keep his promise to her that he would protect the world from danger. In Sonic Adventure 2, Gerald's grandson, Doctor Eggman, learns of Shadow and revives him as part of a plan to conquer the world and defeat Sonic the Hedgehog. Shadow agrees to help Eggman and frames Sonic for their evil deeds. However, Shadow eventually allies himself with Sonic to prevent the world's destruction after he remembers the promise he made to Maria. However, he is unable to handle the power of all seven Chaos Emeralds in a Super state as well as Sonic, and is seen plummeting to the Earth from space after the final boss fight. He is believed to have died in the final battle until Sonic Heroes; Rouge the Bat discovers him alive in Eggman's base during a search for "treasure". He remembers nothing except his name and Maria's death, and teams up with Rouge and E-123 Omega to find Eggman and learn of his past. In Shadow the Hedgehog, Shadow, still experiencing amnesia, becomes caught in a three-way war between Eggman, G.U.N., and the Black Arms, an alien army led by Black Doom. Shadow can choose to help G.U.N., Sonic and his friends, Eggman, or the Black Arms. At the end of the game, Shadow recovers from his amnesia and learns the truth about his past, including that Gerald created him using Black Doom's blood and Black Doom uses that to control him, but Shadow stands up to him and ultimately defeats him. After the battle, Shadow chooses to put the past behind him and move on, and in Sonic the Hedgehog is depicted as having joined G.U.N.

Shadow quickly proved popular among players of Sonic Adventure 2, contributing to his return in later games. Additionally, responses to his introduction were favorable; critics considered his levels in Sonic Adventure 2 among the game's highlights. GameSpot's Shane Satterfield wrote Shadow's levels were exciting and helped preserve the general theme of Sonic games, and wished they had been more plentiful. Nintendo Life's Mark Reece similarly felt Shadow's levels successfully adapted the Sonic formula to 3D. However, despite strong sales, the 2005 Shadow game received generally unfavorable reviews and, according to Official Nintendo Magazine's Thomas East, tarnished the character's reputation.

Reviews for Shadow the Hedgehog criticized numerous aspects of the character, such as his controls, use of firearms, and characterization. Game Informer's Matt Helgeson decried Shadow as a character who lacked personality and mocked his "ridiculous" and "laughable" Clint Eastwood rasp, while 's Patrick Klepek felt the game was proof the Sonic series had jumped the shark. Similarly, 's Shane Bettenhausen compared Shadow to Poochie, a character from The Simpsons episode " The Itchy & Scratchy & Poochie Show" (1997) symbolic of creating a new character simply to boost a flagging series. Klepek thought guns made sense for Shadow's character but did not have a compelling use in the game, and expressed hope Sonic Team would "[bury] him alongside the same graves as the third-tier of characters from Knuckles' Chaotix." Critics reviewing the 2006 Sonic the Hedgehog considered Shadow's gameplay slightly better than that of Sonic's but felt it did not add enough to the experience, while 's Chris Freiberg wrote the Shadow DLC for Sonic Forces added some replay value to a game he criticized for its short length.

Writers have called Shadow-both the game and the character-an ill-advised attempt to bring a sense of maturity to the Sonic series. Indeed, 's Levi Buchanan and 1UP's Jeremy Parish considered him one of the series' biggest problems; Parish wrote that of the unnecessary Sonic characters Sega should retire, Shadow was the most in need of it. Numerous video game journalists have mockingly described the character as "edgy", Internet slang referring to someone who exhibits disconcerting behavior in an effort to impress others. In 2010, DeviantArt user "cmara" released a webcomic depicting Shadow in a romantic relationship with Shrek, the title character of the DreamWorks film series. According to 's Nathan Grayson, the comic paired the two because "if Shrek was the big screen embodiment of nu-millennium toilet garbage, Shadow the Hedgehog-with his hilariously unfitting blend of guns and angst in a colorful world of fast animals in clown shoes-was his video game bride. Both tried to act like they were too cool for 'kid stuff.' Too sophisticated, too edgy. They were made for each other-and approximately one billion people between the ages of 12 and 34."

Shadow is a divisive Sonic character. Some, such as East, who ranked him one of the series' best characters, praise him for his role in Sonic Adventure 2; Game Informer's Brian Shea called Shadow a "fun equal" to Sonic who delivered the series' traditional sense of speed, and 's Allegra Frank said he is a fan-favorite. "For others," wrote Kotaku's Mike Fahey, Shadow "signifies the looming death of a beloved series." Fahey felt Shadow's self-titled game was when the Sonic franchise lost its identity, and dismissed those who argued in favor of his role in Sonic Adventure 2. Jim Sterling, writing for GamesRadar+, ranked Shadow among the series' worst characters, arguing he lost his relevance over time and calling him "the ultimate example of a good idea gone rotten." Brian Shea from Game Informer included Shadow in a similar list, whom observed "Shadow's brooding "tortured soul" personality wore on a lot of fans quickly..." In a more positive write-up, Fanbyte's Kenneth Shepard argued Shadow's characterization was more complex than most characters in the series, but recent iterations have leaned harder into a one-dimensional "edgelord" archetype. Despite this, in 2005 Naka said Sonic Team had determined Shadow was the series' most popular character excluding Sonic himself, a finding reaffirmed in a 2009 Sega poll. In 2011, Guinness World Records named Shadow among the 50 greatest video game characters of all time.

Outside the video game series, Shadow appears in the anime series , which adapts the story of the Sonic Adventure games and also appears in the animation Sonic Boom (TV series) and Sonic Prime. The original Japanese cast from the games reprised their roles, while Jason Griffith voiced Shadow in the English dub by 4Kids Entertainment. In the Sonic Boom (2014-2017) spin-off franchise, Shadow appears in the 2014 games Sonic Boom: Rise of Lyric for the Wii U and Sonic Boom: Shattered Crystal for the Nintendo 3DS, and the episodes "It Takes a Village to Defeat a Hedgehog" and both parts entitled "Eggman: The Video Game", voiced by Kirk Thornton, and usually appears as a rival to Team Sonic. Ian Hanlin voices Shadow in Sonic Prime. After Sonic inadvertently opens the path to the Paradox Prism for Eggman, Shadow has a vague vision of the universe's shatter and tries to prevent it but fails, he manages to escape it using Chaos Control and is trapped in the void between Shatterspaces. Shadow also appears in the Sonic the Hedgehog comic books published by Archie Comics and IDW Publishing, and his likeness has been used in Sonic merchandise. Shadow made his live-action debut in a non-speaking cameo appearance in the mid-credits scene of the 2022 film Sonic the Hedgehog 2.

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Shadow the Hedgehog is a fictional character appearing in Sega's Sonic the Hedgehog franchise. Shadow was created by Takashi Iizuka and Shiro Maekawa, and first made his debut in Sonic Adventure 2 (2001). Although this was intended to be his only appearance, Shadow proved so popular among fans that developer Sonic Team decided to include him in Sonic Heroes (2003).

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https://id.wikipedia.org/wiki/Kartini#Perangko

Raden Ayu Adipati Kartini Djojoadhiningrat (21 April 1879 – 17 September 1904) atau sering disebut dengan gelarnya sebelum menikah: Raden Ajeng Kartini, adalah seorang tokoh Jawa dan Pahlawan Nasional Indonesia.[1] Kartini adalah seorang pejuang kemerdekaan dan kedudukan kaumnya, pada saat itu terutama wanita Jawa.[2] Ia mempunyai tanggal lahir yang sama seperti dr. Radjiman Wedyodiningrat, yakni sama-sama lahir pada 21 April 1879.

Ia dilahirkan dalam keluarga bangsawan Jawa di Hindia Belanda (sekarang Indonesia). Setelah bersekolah di sekolah dasar berbahasa Belanda, ia ingin melanjutkan pendidikan lebih lanjut, tetapi perempuan Jawa saat itu dilarang mengenyam pendidikan tinggi. Ia bertemu dengan berbagai pejabat dan orang berpengaruh, termasuk J.H. Abendanon, yang bertugas melaksanakan Kebijakan Etis Belanda.

Setelah kematiannya, saudara perempuannya melanjutkan pembelaannya untuk mendidik anak perempuan dan perempuan.[3] Surat-surat Kartini diterbitkan di sebuah majalah Belanda dan akhirnya, pada tahun 1911, menjadi karya: Habis Gelap Terbitlah Terang, Kehidupan Perempuan di Desa, dan Surat-Surat Putri Jawa. Ulang tahunnya sekarang dirayakan di Indonesia sebagai Hari Kartini untuk menghormatinya, serta beberapa sekolah dinamai menurut namanya dan sebuah yayasan didirikan atas namanya untuk membiayai pendidikan anak perempuan bangsa Indonesia.

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Kartini - Wikipedia bahasa Indonesia, ensiklopedia bebas

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Repro negatif potret Raden Ajeng Kartini (foto 1890-an)

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https://www.halodoc.com/artikel/cara-membuat-seblak-kuah-yang-mudah-dan-lezat-untuk-camilan

Teman saya, kita sebut dengan inisial h sangat suka seblak, ia mengonsumsinya hampir setiap hari ditambah dengan makan gacoan. Ia makan seblak level 15 dan dengan toping kerupuk, cuanki, dan mie. Ia tidak kepedesan makan itu semua yang berarti ia memiliki perut yang sangat kuat

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Cara Membuat Seblak Kuah yang Mudah dan Lezat untuk Camilan

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Seblak adalah makanan asal Jawa Barat yang terkenal akan kerupuk kenyal dan kuah pedasnya. Intip resep seblak padat nutrisi di sini!

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https://budaya.jogjaprov.go.id/berita/detail/1346-peristiwa-dilantiknya-ir-soekarno-menjadi-presiden-republik-indonesia-serikat-dan-perjalanan-singkat-bentuk-negara-tersebut-dalam-sejarah-perjalanan-bangsa

Pada tanggal 17 Desember 1949 terjadi sebuah peristiwa bersejarah yang menjadi saksi penting dalam dinamika perjalanan sejarah bangsa yang waktu itu masih seumur jagung. Peristiwa itu adalah peristiwa diangkatnya Ir. Soekarno menjadi presiden dari Republik Indonesia Serikat. Ir. Soekarno diangkat menjadi presiden Republik Indonesia Serikat pada 17 Desember 1949 melalui prosesi upacara pelantikan. Upacara pelantikan tersebut bertepat di Bangsal Siti Hinggil yang terletak di Kraton Yogyakarta. Upacara pelantikan dihadiri oleh berbagai tokoh penting pada saat itu, termasuk Sri Sultan Hamengku Buwono IX yang saat itu masih berstatus sebagai Sultan Kerajaan Ngayogyakarta Hadiningrat. Presiden Soekarno mengambil sumpah jabatan sebagai Presiden Republik Indonesia Serikat dihadapan Ketua Mahkamah Agung pada saat itu, Kusumah Atmaja. Tidak lama setelahnya, Drs. Mohammad Hatta meyusul dilantik menjadi Perdana Menteri Republik Indonesia Serikat.

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Peristiwa Dilantiknya Ir. Soekarno Menjadi Presiden Republik Indonesia Serikat dan Perjalanan Singkat Bentuk Negara Tersebut dalam Sejarah Perjalanan Bangsa

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Pada tanggal 17 Desember 1949 terjadi sebuah peristiwa bersejarah yang menjadi saksi penting dalam dinamika perjalanan sejarah bangsa yang waktu itu masih seumur jagung. Peristiwa itu adalah…

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https://www.liputan6.com/citizen6/read/5687489/perjalanan-kasus-kejahatan-seksual-taeil-eks-nct-didepak-dari-grup-hingga-dijauhi-rekan

Pada tanggal 28 Agustus, SM Entertainment mengumumkan di media sosial bahwa Taeil telah dikeluarkan dari NCT karena dugaan keterlibatannya dalam penyelidikan kriminal terkait pelanggaran seksual. Mereka menyatakan bahwa beratnya tuduhan tersebut membuat mereka tidak punya pilihan selain memutuskan hubungan Taeil dengan grup tersebut. Pengumuman tersebut menandai titik balik yang signifikan bagi grup K-pop populer tersebut, karena Taeil telah menjadi anggota yang menonjol sejak debut mereka. Segera setelah pengumuman tersebut, akun Instagram resmi NCT, termasuk akun NCT 127, berhenti mengikuti akun pribadi Taeil. Tindakan ini segera diikuti oleh beberapa anggota, yang menandakan upaya yang jelas untuk menjauhkan diri dari skandal tersebut.

Taeyong adalah salah satu orang pertama yang berhenti mengikuti Taeil dan melangkah lebih jauh dengan berhenti mengikuti semua akun lain yang sebelumnya diikutinya. Ia juga menghapus beberapa foto yang menampilkan Taeil, termasuk gambar dari sebuah unggahan yang dibagikan pada tanggal 15 April saat ia berangkat wajib militer. Setelah tindakan Taeyong, Doyoung juga berhenti mengikuti Taeil dan menghapus daftar pengikutnya sepenuhnya.

Anggota NCT lainnya, seperti Haechan dan Johnny, memilih untuk berhenti mengikuti akun Taeil secara khusus tanpa membuat perubahan yang lebih luas pada kehadiran media sosial mereka. Winwin, yang juga merupakan anggota NCT dan WayV, mengikuti dengan tidak mengikuti Taeil, sementara Mark dan Jungwoo membuat keputusan serupa, yang semakin memperkuat pendirian kolektif grup tersebut.

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Perjalanan Kasus Kejahatan Seksual Taeil Eks NCT: Didepak dari Grup hingga Dijauhi Rekan

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Berikut perjalanan kasus kejahatan seksual Tael Eks NCT yang menyebabkan dia didepak dari grup

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https://id.wikipedia.org/wiki/Perang_Diponegoro

Perang Diponegoro yang juga dikenal dengan sebutan Perang Jawa (Inggris:The Java War, Belanda: De Java Oorlog) adalah perang besar dan berlangsung selama lima tahun (1825-1830) di Pulau Jawa, Hindia Belanda (sekarang Indonesia). Perang ini melibatkan pasukan Belanda di bawah pimpinan Jenderal Hendrik Merkus de Kock yang berusaha meredam perlawanan penduduk Jawa di bawah pimpinan Pangeran Diponegoro. Akibat perang ini, penduduk Jawa yang tewas mencapai 200.000 jiwa, sementara korban tewas di pihak Belanda berjumlah 8.000 tentara Belanda dan 7000 serdadu pribumi. Akhir perang menegaskan penguasaan Belanda atas Pulau Jawa.[5]

Berkebalikan dari perang yang dipimpin oleh Raden Ronggo sekitar 15 tahun sebelumnya, pasukan Jawa juga menempatkan masyarakat Tionghoa di tanah Jawa sebagai target penyerangan. Namun, meskipun Pangeran Diponegoro secara tegas melarang pasukannya untuk bersekutu dengan masyarakat Tionghoa, sebagian pasukan Jawa yang berada di pesisir utara (sekitar Rembang dan Lasem) menerima bantuan dari penduduk Tionghoa setempat yang rata-rata beragama Islam.[5]

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Perang Diponegoro

Lukisan Peristiwa Penangkapan Pangeran Diponegoro oleh Nicolaas Pieneman

Pihak terlibat

Belanda
Golongan Jawa yang pro-Belanda

Milisi Pro-Pangeran Diponegoro
Tentara Tionghoa

Tokoh dan pemimpin

Jendral De Kock

Pangeran Diponegoro

Kekuatan

50.000

100.000

Korban

Serdadu Eropa:
~8.000
Serdadu Jawa:
7.000[2]

20,000 tewas dalam perang[3]

Milisi dan sipil:
200.000 korban jiwa [2][4][5][6]

Perang Diponegoro yang juga dikenal dengan sebutan Perang Jawa ( Inggris: The Java War, Belanda: De Java Oorlog) adalah perang besar dan berlangsung selama lima tahun (1825-1830) di Pulau Jawa, Hindia Belanda (sekarang Indonesia). Perang ini merupakan salah satu pertempuran terbesar yang pernah dialami oleh Belanda selama masa pendudukannya di Nusantara, melibatkan pasukan Belanda di bawah pimpinan Jenderal Hendrik Merkus de Kock yang berusaha meredam perlawanan penduduk Jawa di bawah pimpinan Pangeran Diponegoro. Akibat perang ini, penduduk Jawa yang tewas mencapai 200.000 jiwa, sementara korban tewas di pihak Belanda berjumlah 8.000 tentara Belanda dan 7000 serdadu pribumi. Akhir perang menegaskan penguasaan Belanda atas Pulau Jawa.

Berkebalikan dari perang yang dipimpin oleh Raden Ronggo sekitar 15 tahun sebelumnya, pasukan Jawa juga menempatkan masyarakat Tionghoa di tanah Jawa sebagai target penyerangan. Namun, meskipun Pangeran Diponegoro secara tegas melarang pasukannya untuk bersekutu dengan masyarakat Tionghoa, sebagian pasukan Jawa yang berada di pesisir utara (sekitar Rembang dan Lasem) menerima bantuan dari penduduk Tionghoa setempat yang rata-rata ber agama Islam.

Perseteruan pihak keraton Jawa dengan Belanda dimulai semenjak kedatangan Marsekal Herman Willem Daendels di Batavia pada tanggal 5 Januari 1808. Meskipun ia hanya ditugaskan untuk mempersiapkan Jawa sebagai basis pertahanan Prancis melawan Inggris (saat itu Belanda dikuasai oleh Prancis), tetapi Daendels juga mengubah etiket dan tata upacara yang menyebabkan terjadinya kebencian dari pihak keraton Jawa. Ia memaksa pihak Keraton Yogyakarta untuk memberinya akses terhadap berbagai sumber daya alam dan manusia dengan mengerahkan kekuatan militernya, membangun jalur antara Anyer dan Panarukan, hingga akhirnya terjadi insiden perdagangan kayu jati di daerah mancanegara (wilayah Jawa di timur Yogyakarta) yang menyebabkan terjadinya pemberontakan Raden Ronggo. Setelah kegagalan pemberontakan Raden Ronggo (1810), Daendels memaksa Sultan Hamengkubuwana II membayar kerugian perang serta melakukan berbagai penghinaan lain yang menyebabkan terjadinya perseteruan antar keluarga keraton (1811). Namun, pada tahun yang sama, pasukan Inggris mendarat di Jawa dan mengalahkan pasukan Belanda.

Meskipun pada mulanya Inggris yang dipimpin Thomas Stamford Bingley Raffles memberikan dukungan kepada Sultan Hamengkubuwana II, pasukan Inggris akhirnya menyerbu Keraton Yogyakarta (19-20 Juni 1812) yang menyebabkan Sultan Hamengkubuwana II turun tahta secara tidak hormat dan digantikan putra sulungnya, yaitu Sultan Hamengkubuwana III. Perisitwa ini dikenal dengan nama Geger Sepehi. Inggris memerintah hingga tahun 1815 dan mengembalikan Jawa kepada Belanda sesuai isi Perjanjian Wina (1814) di bawah Gubernur Jenderal Belanda van der Capellen. Pada masa pemerintahan Inggris, Hamengkubuwana III wafat dan digantikan putranya, adik tiri Pangeran Diponegoro, yaitu Hamengkubuwana IV yang berusia 10 tahun (1814), sementara Paku Alam I menjadi adipati di Puro Kadipaten Pakualaman sekaligus wali raja, sedangkan Patih Danuredjo III bertindak sebagai wali raja.

Pada tanggal 6 Desember 1822, Hamengkubuwana IV meninggal pada usia 19 tahun. Ratu Ageng (permaisuri Hamengkubuwana II) dan Gusti Kangjeng Ratu Kencono (permaisuri Hamengkubuwana IV) memohon dengan sangat kepada pemerintah Belanda untuk mengukuhkan putra Hamengkubuwana IV yang masih berusia 2 tahun untuk menjadi Hamengkubuwana V serta tidak lagi menjadikan Paku Alam sebagai wali. Pangeran Diponegoro selanjutnya diangkat menjadi wali bagi keponakannya bersama dengan Mangkubumi.

Residen baru Yogyakarta pengganti Nahuys, Jonkheer Anthonie Hendrik Smissaert bertindak keterlaluan dengan terlibat dalam penunjukkan Sultan pada bulan Juni 1823. Penunjukan itu untuk menggantikan Sultan Hamengku Buwono III yang meninggal mendadak. Smissaert duduk di atas tahta seraya menerima sembah dan bakti para bupati mancanagara dalam lima upacara Garebeg selama 31 bulan masa jabatannya sebagai Residen. Di mata orang Jawa hal ini adalah penghinaan terhadap martabat mereka. (Peter Carey: 2014)

Pangeran Diponegoro memang tetap menerima posisi sebagai Wali Sultan bersama Mangkubumi, Ratu Ageng dan Ratu Kencono (Ibunda Sultan balita). Namun posisi Pangeran semakin tidak dianggap. Smissaert mengabaikan pendapat Pangeran Diponegoro dalam persoalan ganti rugi sewa tanah yang dapat membawa Kesultanan pada kebangkrutan.

Menindaklanjuti pengamatan Van der Graaf pada tahun 1821 yang melihat para petani lokal menderita akibat penyalahgunaan penyewaan tanah oleh warga Belanda, Inggris, Prancis, dan Jerman, van der Capellen mengeluarkan dekret pada tanggal 6 Mei 1823 bahwa semua tanah yang disewa orang Eropa dan Tionghoa wajib dikembalikan kepada pemiliknya per 31 Januari 1824. Namun, pemilik lahan diwajibkan memberikan kompensasi kepada penyewa lahan Eropa. Keraton Yogyakarta terancam bangkrut karena tanah yang disewa adalah milik keraton sehingga Pangeran Diponegoro terpaksa meminjam uang kepada Kapitan Tionghoa di Yogyakarta pada masa itu. Smissaert berhasil menipu kedua wali sultan untuk meluluskan kompensasi yang diminta oleh Nahuys atas perkebunan di Bedoyo sehingga membuat Diponegoro memutuskan hubungannya dengan keraton. Putusnya hubungan tersebut terutama disebabkan tindakan Ratu Ageng (ibu tiri pangeran) dan Patih Danurejo yang pro kepada Belanda. Pada 29 Oktober 1824, Pangeran Diponegoro mengadakan pertemuan di rumahnya yang berada di Tegalrejo untuk membahas mengenai kemungkinan pemberontakan pada pertengahan Agustus. Pangeran Diponegoro membulatkan tekad untuk melakukan perlawanan dengan membatalkan pajak Puwasa agar para petani di Tegalrejo dapat membeli senjata dan makanan.

Pada pertengahan bulan Mei 1825, Smissaert memutuskan untuk memperbaiki jalan-jalan kecil di sekitar Yogyakarta. Namun, pembangunan jalan yang awalnya dari Yogyakarta ke Magelang melewati Muntilan dibelokkan melewati pagar sebelah timur Tegalrejo. Pada salah satu sektor, patok-patok jalan yang dipasang orang-orang kepatihan melintasi makam leluhur Pangeran Diponegoro. Patih Danurejo tidak memberitahu keputusan Smissaert sehingga Diponegoro baru mengetahui setelah patok-patok dipasang. Perseteruan terjadi antara para petani penggarap lahan dengan anak buah Patih Danurejo sehingga memuncak pada bulan Juli. Patok-patok yang telah dicabut kembali dipasang sehingga Pangeran Diponegoro menyuruh mengganti patok-patok dengan tombak sebagai pernyataan perang.

Pada hari Rabu, 20 Juli 1825, pihak istana mengutus dua bupati keraton senior yang memimpin pasukan Jawa-Belanda untuk menangkap Pangeran Diponegoro dan Mangkubumi di Tegalrejo sebelum perang pecah. Meskipun kediaman Diponegoro jatuh dan dibakar, pangeran dan sebagian besar pengikutnya berhasil lolos karena lebih mengenal medan di Tegalrejo. Pangeran Diponegoro beserta keluarga dan pasukannya bergerak ke barat hingga Desa Dekso di Kabupaten Kulonprogo, dan meneruskan ke arah selatan hingga keesokan harinya tiba di Goa Selarong yang terletak lima kilometer arah barat dari Kota Bantul. Pangeran Diponegoro kemudian menjadikan Goa Selarong, sebuah goa yang terletak di Dusun Kentolan Lor, Guwosari Pajangan Bantul, sebagai basisnya. Pangeran menempati goa sebelah barat yang disebut Goa Kakung, yang juga menjadi tempat pertapaannya, sedangkan Raden Ayu Retnaningsih (selir yang paling setia menemani Pangeran setelah dua istrinya wafat) dan pengiringnya menempati Goa Putri di sebelah Timur.

Penyerangan di Tegalrejo memulai perang Diponegoro yang berlangsung selama lima tahun. Diponegoro memimpin masyarakat Jawa, dari kalangan petani hingga golongan priyayi yang menyumbangkan uang dan barang-barang berharga lainnya sebagai dana perang, dengan semangat " Sadumuk bathuk, sanyari bumi ditohi tekan pati"; "sejari kepala sejengkal tanah dibela sampai mati". Sebanyak 15 dari 19 pangeran bergabung dengan Diponegoro. Bahkan Diponegoro juga berhasil memobilisasi para bandit profesional yang sebelumnya ditakuti oleh penduduk pedesaan, meskipun hal ini menjadi kontroversi tersendiri. Perjuangan Diponegoro dibantu Kyai Mojo yang juga menjadi pemimpin spiritual pemberontakan. Dalam perang jawa ini Pangeran Diponegoro juga berkoordinasi dengan I.S.K.S. Pakubowono VI serta Raden Tumenggung Prawirodigdoyo Bupati Gagatan.

Bagi Diponegoro dan para pengikutinya, perang ini merupakan perang jihad melawan Belanda dan orang Jawa murtad. Sebagai seorang muslim yang saleh, Diponegoro merasa tidak senang terhadap religiusitas yang kendur di istana Yogyakarta akibat pengaruh masuknya Belanda, disamping kebijakan-kebijakan pro-Belanda yang dikeluarkan istana. Infiltrasi pihak Belanda di istana telah membuat Keraton Yogyakarta seperti rumah bordil. Di lain pihak, Smissaert menulis bahwa Pangeran Diponegoro semakin lama semakin hanyut dalam fanatisme dan banyak anggota kerajaan yang menganggapnya kolot dalam beragama.

Dalam laporannya, Letnan Jean Nicolaas de Thierry menggambarkan Pangeran Diponegoro mengenakan busana bergaya Arab dan serban yang seluruhnya berwarna putih. Busana tersebut juga dikenakan oleh pasukan Diponegoro dan dianggap lebih penting dibandingkan busana adat Jawa meskipun perang telah berakhir. Laporan Paulus Daniel Portier, se orang indo, menyebutkan bahwa para tawanan perang Belanda memperoleh ancaman nyawa jika tidak bersedia masuk Islam.

Pertempuran terbuka dengan pengerahan pasukan-pasukan infantri, kavaleri dan artileri (yang sejak perang Napoleon menjadi senjata andalan dalam pertempuran frontal) di kedua belah pihak berlangsung dengan sengit. Front pertempuran terjadi di puluhan kota dan desa di seluruh Jawa. Pertempuran berlangsung sedemikian sengitnya sehingga bila suatu wilayah dapat dikuasai pasukan Belanda pada siang hari, maka malam harinya wilayah itu sudah direbut kembali oleh pasukan pribumi; begitu pula sebaliknya. Jalur-jalur logistik dibangun dari satu wilayah ke wilayah lain untuk menyokong keperluan perang. Berpuluh-puluh kilang mesiu dibangun di hutan-hutan dan di dasar jurang. Produksi mesiu dan peluru berlangsung terus sementara peperangan sedang berkecamuk. Para telik sandi dan kurir bekerja keras mencari dan menyampaikan informasi yang diperlukan untuk menyusun strategi perang. Informasi mengenai kekuatan musuh, jarak tempuh dan waktu, kondisi medan, curah hujan menjadi berita utama, karena taktik dan strategi yang jitu hanya dapat dibangun melalui penguasaan informasi.

Serangan-serangan besar rakyat pribumi selalu dilaksanakan pada bulan-bulan penghujan; para senopati menyadari sekali untuk bekerja sama dengan alam sebagai "senjata" tak terkalahkan. Bila musim penghujan tiba, gubernur Belanda akan melakukan usaha-usaha untuk gencatan senjata dan berunding, karena hujan tropis yang deras membuat gerakan pasukan mereka terhambat. Penyakit malaria, disentri, dan sebagainya merupakan "musuh yang tak tampak", melemahkan moral dan kondisi fisik bahkan merenggut nyawa pasukan mereka. Ketika gencatan senjata terjadi, Belanda akan mengonsolidasikan pasukan dan menyebarkan mata-mata dan provokator mereka bergerak di desa dan kota; menghasut, memecah belah dan bahkan menekan anggota keluarga para pengeran dan pemimpin perjuangan rakyat yang berjuang di bawah komando Pangeran Diponegoro. Namun pejuang pribumi tersebut tidak gentar dan tetap berjuang melawan Belanda.

Pada tahun 1827, Belanda melakukan penyerangan terhadap Diponegoro dengan menggunakan sistem benteng sehingga Pasukan Diponegoro terjepit. Pada tahun 1829, Kyai Mojo, pemimpin spiritual pemberontakan, ditangkap. Menyusul kemudian Pangeran Mangkubumi dan panglima utamanya Alibasah Sentot Prawirodirjo menyerah kepada Belanda. Akhirnya pada tanggal 28 Maret 1830, Jenderal De Kock berhasil menjepit pasukan Diponegoro di Magelang. Di sana, Pangeran Diponegoro menyatakan bersedia menyerahkan diri dengan syarat sisa anggota laskarnya dilepaskan. Oleh karena itu, Pangeran Diponegoro ditangkap dan diasingkan ke Manado, kemudian dipindahkan ke Makassar hingga wafatnya di Benteng Rotterdam tanggal 8 Januari 1855.

Berakhirnya Perang Jawa merupakan akhir perlawanan bangsawan Jawa. Perang Jawa ini banyak memakan korban dipihak pemerintah Hindia sebanyak 8.000 serdadu berkebangsaan Eropa, 7.000 pribumi, dan 200.000 orang Jawa. Setelah perang berakhir, jumlah penduduk Yogyakarta menyusut separuhnya.

Karena bagi sebagian orang Keraton Yogyakarta Diponegoro dianggap pemberontak, konon keturunan Diponegoro tidak diperbolehkan lagi masuk ke keraton hingga Sri Sultan Hamengkubuwono IX memberi amnesti bagi keturunan Diponegoro dengan mempertimbangkan semangat kebangsaan yang dipunyai Diponegoro kala itu. Kini anak cucu Diponegoro dapat bebas masuk keraton, terutama untuk mengurus silsilah bagi mereka, tanpa rasa takut akan diusir.

Di sisi lain, sebenarnya Belanda sedang menghadapi Perang Padri di Sumatra Barat. Penyebab Perang Paderi adalah perselisihan antara Kaum Padri (alim ulama) dengan Kaum Adat (orang adat) yang mempermasalahkan soal agama Islam, ajaran-ajaran agama, mabuk- mabukan, judi, maternalisme dan paternalisme. Saat inilah Belanda masuk dan mencoba mengambil kesempatan. Namun pada akhirnya Belanda harus melawan baik kaum adat dan kaum paderi yang belakangan bersatu. Perang Paderi berlangsung dalam dua babak: babak I antara 1821-1825, dan babak II.

Untuk menghadapi Perang Diponegoro, Belanda terpaksa menarik pasukan yang dipakai perang di Sumatra Barat untuk menghadapi Pangeran Diponegoro yang bergerilya dengan gigih. Sebuah gencatan senjata disepakati pada tahun 1825, dan sebagian besar pasukan dari Sumatra Barat dialihkan ke Jawa. Namun, setelah Perang Diponegoro berakhir (1830), kertas perjanjian gencatan senjata itu disobek, dan terjadilah Perang Padri babak kedua. Pada tahun 1837 pemimpin Perang Paderi, Tuanku Imam Bonjol akhirnya ditangkap. Berakhirlah Perang Padri.

Setelah perang Diponegoro, pada tahun 1832 seluruh raja dan bupati di Jawa tunduk menyerah kepada Belanda kecuali bupati Ponorogo Warok Brotodiningrat III, justru hendak menyerang seluruh kantor belanda yang berada di kota-kota karesidenan Madiun dan di jawa tengah seperti Wonogori, karanganyar yang banyak di huni oleh Warok.[1]

Dalam catatan Belanda, para Warok yang memiliki skill berperang dan ilmu kebal sangat tangguh bagi pasukan Belanda. Maka dari itu untuk menghindari yang merugikan pihak Belanda, terjadi sebuah kesepakatan untuk di buatkanlah kantor Bupati di pusat Kota Ponorogo, serta fasilatas penunjang seperti jalan beraspal, rel kereta api, kendaran langsung dari Eropa seperti Mobil, motor hingga sepeda angin berbagai merek, maka tidak heran hingga saat ini kota dengan jumlah sepeda tua terbanyak berada di ponorogo yang kala itu di gunakan oleh para Warok juga.[2]

Masyarakat Tionghoa yang dipandang sebagai sekutu oleh Raden Ronggo dalam pemberontakannya berubah menjadi musuh dalam peperangan Diponegoro. Hal tersebut disebabkan mencuatnya sikap anti-tionghoa oleh masyarakat Jawa yang disebabkan oleh beberapa hal berikut:

1. Kebijakan ekonomi yang memberatkan rakyat oleh Keraton Yogyakarta akibat intervensi pemerintah Belanda dijalankan melalui perantaraan etnis Tionghoa

2. Monopoli perdagangan kayu jati yang dipaksakan oleh Daendels (1809) menyebabkan bupati-bupati lokal kehilangan pemasukannya yang jatuh ke tangan pengusaha-pengusaha Tionghoa.

3. Bantuan yang diberikan Kapitan Tionghoa di Yogyakarta, Tan Jin Sing, saat penyerbuan tentara Inggris, sepoy, dan pasukan Notokusumo ke Keraton Yogyakarta (Juni 1812).

4. Kebijakan pajak Raffles (1812-1813) agar petani membayar pajak tanah dalam bentuk uang tunai dan menghilangkan kerja rodi tidak tepat sasaran karena para petani Jawa pada saat itu terbiasa dengan barter. Akibatnya, mereka terjerumus hutang kepada para renternir Tionghoa setempat yang diberi wewenang dalam mengurus pajak.

5. Kebijakan monopoli gerbang cukai (bandar) oleh Belanda (1816) menyebabkan biaya fiskal yang harus dikeluarkan pengusaha Tionghoa meningkat tajam dan berdampak pada para petani Jawa yang mereka pekerjakan.

6. Larangan Pangeran Diponegoro untuk menjalin relasi politik dengan etnis Tionghoa sesuai peringatan leluhurnya yaitu Sultan Mangkubumi.

7. Anggapan Pangeran Diponegoro yang ditulis dalam Babadnya bahwa dirinya tergoda oleh tukang pijat beretnis Tionghoa pada malam sebelum perang Gawok (Oktober 1986) sehingga menyebabkan dirinya kehilangan kekebalan tubuhnya (mendapat luka saat perang) dan mengalami kekalahan.

8. Kekalahan Tumenggung Sosrodilogo, bupati Bojonegoro sekaligus saudara ipar pangeran, pada bulan Januari 1828 dianggap Diponegoro disebabkan Sosrodilogo telah menjamahi seorang peranakan Tionghoa di Lasem.

Penyerangan terhadap etnis Tionghoa di Jawa Tengah dan Jawa Timur terjadi semenjak awal peperangan. Catatan Payen, seorang arsitek di Yogyakarta, menyebutkan bahwa komunitas Tionghoa di Yogyakarta dibantai tanpa mempedulikan wanita maupun anak-anak. Komunitas Tionghoa di Bagelen sempat bertahan hingga tahun 1827 sebelum akhirnya diungsikan ke Wonosobo. Meskipun demikian, masyarakat Tionghoa di pesisir pantai utara (sekitar Tuban dan Lasem) ikut memasok pasukan Diponegoro dengan senjata, uang, dan opium (pada masa tersebut penduduk Jawa banyak yang kecanduan opium, termasuk pasukan Diponegoro). Setelah perang berakhir, kerukunan antara komunitas Tionghoa dan masyarakat lain di Jawa tidak dapat kembali seperti semula karena timbulnya rasa saling curiga akibat trauma selama perang, misalnya peristiwa di Bagelen saat penduduk Jawa lokal meminta komunitas Tionghoa yang mengungsi agar kembali.

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Perang Diponegoro - Wikipedia bahasa Indonesia, ensiklopedia bebas

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Perang Diponegoro Lukisan Peristiwa Penangkapan Pangeran Diponegoro oleh Nicolaas Pieneman Pihak terlibat Belanda Golongan Jawa yang pro-Belanda Milisi Pro-Pangeran Diponegoro Tentara Tionghoa Tokoh dan pemimpin Jendral De Kock Pangeran Diponegoro Kekuatan 50.000 100.000 Korban Serdadu Eropa:~8.000 Serdadu Jawa:7.000[2] 20,000 tewas dalam perang[3] Milisi dan sipil:200.000 korban jiwa [2] [4] [5] [6] Perang Diponegoro yang juga dikenal dengan sebutan Perang Jawa ( Inggris: The Java War, Belanda: De Java Oorlog) adalah perang besar dan berlangsung selama lima tahun (1825-1830) di Pulau Jawa, Hindia Belanda (sekarang Indonesia).

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https://en.wikipedia.org/wiki/The_Devil_Wears_Prada_(film)

Aspiring journalist Andrea "Andy" Sachs has recently graduated from Northwestern University. Despite her lack of knowledge of the fashion industry, she is hired as a junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine in New York City. Andy decides to tolerate Miranda's abusive treatment until she can use her connections from Runway to find a job more focused on journalism.

Andy fits in poorly with her gossipy, fashion-forward co-workers, especially Miranda's senior assistant, Emily Charlton. Andy struggles to fulfill Miranda's irrational demands, such as booking a flight for Miranda during a hurricane and obtaining an unpublished manuscript of a Harry Potter novel for Miranda's daughters. During a dress trial meeting, Miranda berates Andy in front of Runway's creative team. Andy approaches Runway's art director, Nigel, for advice. He helps her select stylish clothes to wear to work.

Noticing Andy's change in appearance and increased commitment to the job, Miranda begins to delegate more complicated and important tasks to her. As Andy becomes more glamorous and absorbs the Runway philosophy, she gradually outperforms Emily, who yearns to attend Paris Fashion Week as Miranda's assistant and, in preparation for the event, adheres to extreme diets that endanger her health.

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The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisberger's 2003 novel of the same name. The film adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, and Anne Hathaway as Andrea "Andy" Sachs, a college graduate who goes to New York City and lands a job as Priestly's co-assistant. Emily Blunt and Stanley Tucci co-star as co-assistant Emily Charlton and art director Nigel Kipling, respectively. Adrian Grenier, Simon Baker, and Tracie Thoms play key supporting roles.

In 2003, 20th Century Fox bought the rights to a film adaptation of Weisberger's novel before it was completed for publication. However, the project was not greenlit until Streep was cast in the lead role. Principal photography lasted 57 days, primarily taking place in New York City from October to December 2005. Additional filming also occurred in Paris.

After premiering at the LA Film Festival on June 22, 2006, the film was theatrically released in the United States on June 30. The film received positive reviews from critics, with Streep's performance being singled out for acclaim. This earned her many award nominations, including an Oscar nomination for Best Actress, as well as a Golden Globe for Best Actress in a Comedy or Musical. Hathaway and Blunt also drew favorable reviews and nominations for their performances. The film grossed over $300 million worldwide, against its $41 million budget, and was the 12th highest-grossing film worldwide in 2006.

Although the film is set in the fashion world, and mentions many real-life references to well-known establishments and people within the industry) most designers and other fashion notables avoided appearing as themselves for fear of displeasing US editor Anna Wintour, who is widely believed to have been the inspiration for Priestly. Still, many allowed their clothes and accessories to be used in the film, making it one of the most expensively costumed films in history. Wintour later overcame her initial skepticism, saying she liked the film and Streep in particular.

Andrea "Andy" Sachs is an aspiring journalist fresh out of Northwestern University. Despite her ridicule for the shallowness of the fashion industry, she lands a job as junior personal assistant to Miranda Priestly, the editor-in-chief of Runway magazine, a job that "millions of girls would kill for". Andy plans to put up with Miranda's excessive demands and humiliating treatment for one year in the hopes of getting a job as a reporter or writer somewhere else.

At first, Andy fumbles with her job and fits in poorly with her gossipy, fashion-conscious co-workers, especially Miranda's senior assistant, Emily Charlton. After a disastrous dress trial meeting in which Miranda berates her in front of the entire team, she approaches art director Nigel to help her learn the ropes in the world of fashion. She begins to dress stylishly and starts showing effort for the position, accommodating all of Miranda's whims and fancies. Problems arise in her relationship with her chef boyfriend, Nate, who increasingly finds her spending all her time at her new boss's beck and call.

Miranda starts to notice Andy's changed appearance and commitment and begins to give her more responsibility and complicated tasks to handle. Slowly but surely, Andy becomes more glamorous and begins aligning herself, unwittingly at first, to the Runway philosophy. She gradually begins to outperform Emily at her job. Emily, meanwhile, is consumed with the thought of attending Paris Fashion Week as Miranda's assistant, and starts to lose her health by attempting extreme diets. At a charity benefit, she fails to provide information about a guest making his way to meet Miranda. Andy manages to save Miranda from embarrassment and is rewarded by being asked to replace Emily as Miranda's assistant at Fashion Week. Miranda tells Andy to inform Emily that she won't be going to Paris, but when Andy calls Emily, she is hit by a car and ends up in the hospital. Andy then tells the recovering Emily the news and Emily is infuriated. When Andy tells Nate she is going to Paris, he is angered by her refusal to admit that she has become what she once ridiculed, and they break up.

In Paris, Andy learns from Miranda herself about her impending divorce. Later that night, Nigel tells Andy that he has accepted a job as creative director with rising designer James Holt. Further, Andy spends the night with an attractive young writer, Christian Thompson, who reveals to her that Miranda is set to be replaced by Jacqueline Follet as editor of Runway. Feeling bad for Miranda in her current situation, Andy attempts to warn her but does not manage to get through.

At a luncheon later that day, however, Miranda announces Jacqueline as the new creative director to Holt, leaving Andy and Nigel stunned. Later in the car, Miranda explains to Andy that she already knew of the plot to replace her and sacrificed Nigel instead to keep her own job. When Andy seems repulsed, Miranda points out that Andy did the same with Emily by stepping over her and agreeing to go to Paris. When they stop, Andy gets out and throws her cell phone into the fountain of the Place de la Concorde, leaving Miranda, Runway, and fashion behind.

Sometime later, Andy meets up with Nate and apologizes, though it is unclear if they eventually reconcile as Nate found a new job as a sous chef in Boston. The same day, Andy is interviewed and accepted to work at a major New York publication company. The editor recounts how he called Runway for a reference, and was told by Miranda herself that he would be an idiot not to hire Andy. While passing the Runway office building in the evening, Andy sees Miranda get into a car and waves. Miranda does not acknowledge or wave back, but smiles to herself once she is seated in the car.

When we made it I was naive. I know now how rare it is to find situations where the stars align.

Director David Frankel and producer Wendy Finerman had originally read The Devil Wears Prada in book proposal form. It would be Frankel's second theatrical feature, and his first in over a decade. He, cinematographer Florian Ballhaus and costume designer Patricia Field, drew heavily on their experience in making Sex and the City.

Frankel recalls the whole experience as having high stakes for those involved, since for himself and the others behind the camera it was the biggest project they had yet attempted, with barely adequate resources. "We knew we were on very thin ice," he told for a 2016 article on the film's 10th anniversary. "It was possible this could be the end of the road for us."

Fox bought the rights to Weisberger's novel before it was not only published in 2003, but even finished. Carla Hecken, then the studio's executive vice president, had only seen the first hundred pages of manuscript and an outline for how the rest of the plot was to go. But for her that was enough. "I thought Miranda Priestly was one of the greatest villains ever," she recalled in 2016. "I remember we aggressively went in and scooped it up."

Work on a screenplay started promptly, before Weisberger had even finished her work. When it became a bestseller upon publication, elements of the plot were incorporated into the screenplay in progress. Most took their inspiration from the 2001 Ben Stiller film and primarily satirized the fashion industry. But it was still not ready to film. Elizabeth Gabler, later head of production at Fox, noted that the finished novel did not have a strong narrative. "Since there wasn't a strong third act in the book," she said later, "we needed to invent that."

In the meantime, the studio and producer Wendy Finerman sought a director. Out of many candidates with experience in comedy, David Frankel was hired despite his limited experience, having only made one feature, Miami Rhapsody, along with some episodes of Sex and the City and . He was unsure about the property, calling it "undirectable ... a satire rather than a love story." Later, he cited , the 1995 documentary about designer Isaac Mizrahi, as his model for the film's attitude towards fashion: "[It] revels in some of the silliness of the fashion world, but is also very serious."

At a meeting with Finerman, Frankel told her that he thought the story unnecessarily punished Miranda. "My view was that we should be grateful for excellence. Why do the excellent people have to be nice?" He prepared to move on and consider more scripts. Two days later his manager persuaded him to reconsider and look for something he liked that he could shape the film into. He took the job, giving Finerman extensive notes on the script and laying out a detailed vision for the film.

Four screenwriters worked on the property. Peter Hedges wrote the first draft, but did not think he could do more; another writer passed. Paul Rudnick did some work on Miranda's scenes, followed by a Don Roos rewrite. After that, Aline Brosh McKenna, who was able to relate her own youthful experiences attempting to launch a journalism career in New York to the story, produced a draft after a month's work that struck the right balance for Finerman and Frankel, whose notes were incorporated into a final version, rearranging the plot significantly, following the book less closely and focusing the story on the conflict between Andrea and Miranda. She found the experience of writing a story with female protagonists that did not center around a relationship "very liberating ... I felt I was allowed to do what the movie wanted to be, a Faust story, a Wall Street for ladies."

McKenna also initially toned down Miranda's meanness at the request of Finerman and Frankel, only to restore it later for Streep. She later cited Don Rickles as her main influence for the insults in the dialogue; before even starting work on the screenplay she had come up with Miranda's "Take a chance. Hire the smart fat girl" line, which she felt summed up the disparity between Andy and the world she found herself in.

In a 2017 interview with Entertainment Weekly, McKenna revealed that the character she and Frankel had the most discussions about was Andrea's boyfriend Nate. She likened his role in the story to that usually played by a male protagonist's girlfriend or wife who regularly reminds him of responsibilities at home that he has neglected. "[W]e wanted to make sure he wasn't a pain in the ass, but he is the person who is trying to say, 'Is this who you want to be morally?'"

The " cerulean speech", where Miranda draws the connection between the designer fashion in Runway's pages and Andy's cerulean sweater, criticizing Andy's snobbishness about fashion and explaining the trickle-down effect, had its origins in a scene cut from earlier drafts that Streep had asked to have restored. It slowly grew from a few lines where the editor disparaged her assistant's fashion sense to a speech about "why she thought fashion was important ... She is so aware that she is affecting billions of people, and what they pick off the floor and what they are putting on their bodies in the morning." Streep said in 2016 she was interested in "the responsibility lying on the shoulders of a woman who was the head of a global brand ... That scene wasn't about the fun of fashion, it was about marketing and business."

McKenna recalls that she kept expanding it to suit Streep and Frankel, but even a few days before it was scheduled to be filmed she was unsure if it would be used or even shot. She was revising it at a nearby Starbucks when she realized that Miranda would describe something not as just blue-chosen as the color for Andy's sweater since it would work best on screen-but would instead use an exact shade. From a list of shades McKenna sent, Streep picked cerulean; the final speech takes up almost a page of the script, long for a mainstream film. "I was like, it'd be cool if half of that ended up in the movie," the writer says. "Every word is in the movie." The references to past designer collections are entirely fictional, McKenna explains, since the speech was written around the sweater's color (however, the Huffington Post later pointed out, designers often take their fashion inspiration from the streets).

The speech has become one of the film's most memorable moments; "Miranda's signature monologue" to . "'Cerulean' [has never] sounded more sinister," the Huffington Post wrote in 2016, In 2018 New York Times chief fashion critic Vanessa Friedman invoked the speech in her defense of the importance of covering haute couture:

And it's not the "Devil Wears Prada" argument, though that does hold true: In a world where everything goes into the Instagram soup and from there seeps into the cultural digestive system, what might appear on a runway in the Musée Rodin (where Dior holds its shows) in July will affect what H&M does in August.

Morwenna Ferrier, a fashion reporter for The Guardian agreed despite the speech's references to fictional collections. "As a fashion journalist I can vouch for its gist: that regardless of how immune you think you are to fashion, if you buy clothes, you are indebted to someone else's choice", she wrote in an article about how the fashion industry continues to embrace the speech's argument. "Arguing that you are oblivious to trends is a fashion choice in itself." As an example of how that had happened in reality since the film she cited the yellow Guo Pei dress Rihanna wore to the 2015 Met Gala, greatly popularizing that color for clothing over the next two years.

In 2016, on the film's 10th anniversary, wrote that the speech's logic also functioned as a critique of cultural appropriation. "In many ways, Priestly's monologue nailed the real problem with cultural appropriation: people not understanding the history or meaning behind something like cornrows or headdresses, but treating it like a new trend or accessory anyway."

Once the script was finished, the filmmakers and Fox focused on getting Meryl Streep to play Miranda; Hacken recalled she was seen as so perfect for the part that no one had discussed any alternatives (although McKenna recalls writing provisional dialogue should the producers have had to settle for another actress). Weisberger, who initially could not imagine Streep playing the part, recalled that after seeing her on set it was "crystal clear" that she was perfect for the role.

The news that Streep would meet with Frankel was celebrated at Fox. But while Streep, for her part, knew the movie could be very successful, she felt the pay she was being offered for playing Miranda was "slightly, if not insulting, not perhaps reflective of my actual value to the project." The producers doubled it to around $4 million, and she signed on, allowing Fox to greenlight the film. According to Frankel, Streep saw the film as a chance to "skewer the doyennes of the fashion world." She has three daughters, and as an ardent feminist, felt that fashion magazines "twisted the minds of young women around the world and their priorities. This was an interesting way to get back at them." Also, she said, the film passed the Bechdel test.

She insisted on the scenes where she explains to Andy the connection between the blue sweater she is wearing and the haute couture industry, and the scene where Miranda briefly opens up to Andy, without makeup, about her divorce. "I wanted", she explained, "to see that face without its protective glaze, to glimpse the woman in the businesswoman."

Casting Andy was less clear-cut. Fox wanted an A-list younger actress, and felt Rachel McAdams, then coming off successes in The Notebook and , would help the film's commercial prospects. However, she declined several offers to play Andy, telling the studio she was trying to avoid mainstream projects for a while.

Hathaway, by contrast, actively sought the part, tracing "Hire me" in the sand of the zen garden on Hacken's desk when she talked about the project with the executive. While Frankel liked her enough to not require her to audition, she knew she was not the studio's first choice and had to be patient (other accounts say that she was the only actress considered for the lead). Fox production chief Elizabeth Gabler says the studio did not realize how strong her audience was after the Princess Diaries movies. She took the part to work with Streep, but also due to some personal aspects. She celebrated when she learned she had gotten the part.

Over a hundred actresses had been considered for Emily before one of the casting agents taped Emily Blunt reading some of the lines elsewhere on the Fox lot as she was leaving for her flight to London following her audition for . Although she read them in her native British accent despite the character being written as American as she is in the novel, Frankel was interested; Finerman liked her for her sense of humor. After the makers of Eragon cast Sienna Guillory, Frankel called her in the bathroom of "some dive club" in London, where she was consoling herself with her sister. He told her that while he would have cast her just from the tape, the studio wanted to see another audition with her dressed more in character. She insisted on continuing to play the character as British; Both Hathaway and Emily Blunt lost weight for their roles, with Hathaway later recounting that "[she] and I would clutch at each other and cry because we were so hungry." Blunt later denied rumors she did this at the filmmakers' request.

Colleen and Suzanne Dengel, the twins who played Miranda's daughters, were cast two weeks after auditioning for Frankel and Finerman. The director and producer laughed, which the sisters believed help them get the part. They recalled in 2017 that they were excited both by being able to work together on camera for the first time, as well as the chance to act opposite Hathaway since they were big fans of the Princess Diaries movies as well.

Tucci was one of the last actors cast; he agreed to play Nigel only three days before shooting started. The filmmakers reportedly had auditioned Barney's creative director Simon Doonan and E!'s Robert Verdi, both openly gay men highly visible as media fashion commentators, for the part; the BBC's Graham Norton also auditioned. Verdi would later say there was no intention to actually hire him and the producers had just used him and Doonan to give whoever they ultimately did cast some filmed research to use in playing a gay character (he would end up with a walk-on part as a fashion journalist in Paris). Tucci says he was unaware of this: "All I know is that someone called me and I realized this was a great part." He based the character on various people he was acquainted with, insisting on the glasses he ultimately wore. Daniel Sunjata had originally read for Tucci's part, rather unenthusiastically since he had just finished playing a similar character, but then read the Holt part and asked if he could audition for it. Simon Baker auditioned by sending a video of himself, wearing the same self-designed green jacket he has on when he and Andrea meet for the first time.

Weisberger is widely believed to have based Miranda on Anna Wintour, the powerful editor of . Wintour reportedly warned major fashion designers who had been invited to make cameo appearances as themselves in the film that they would be banished from the magazine's pages if they did so. Vogue and other major women's and fashion magazines have avoided reviewing or even mentioning the book in their pages. Wintour's spokespeople deny the claim, but costume designer Patricia Field says many designers told her they did not want to risk Wintour's wrath.

Only Valentino Garavani, who had designed the black evening gown Streep wears in the museum benefit scene, chose to make an appearance. Coincidentally, he was in New York during production and Finerman dared Field, an acquaintance, to ask him personally. Much to her surprise, he accepted. Other cameos of note include Heidi Klum as herself and Weisberger as the twins' nanny. Streep's daughter's film debut as a barista at Starbucks was cut. Gisele Bündchen agreed to be in the movie only if she did not play a model.

Principal photography took place over 57 days in New York and Paris between October and December 2005. The film's budget was $41 million. It was originally lower, which caused problems with some locations-the crew could not get permission to shoot at the Museum of Modern Art or Bryant Park.

Fox originally refused permission to let Frankel shoot some scenes from the third act in Paris, where it is set, due to the low budget. But after six "nightmarish" weeks of shooting, he had an editor cut a " sizzle reel" of highlights. That convinced the studio to increase the budget to allow for limited shooting overseas (Streep did not go as Fox believed it would be too expensive).

Several weeks after all the major parts had been cast, the actors gathered in New York for a table read. Hathaway was nervous and goofy, she recalls, since she still had not developed her idea of the part; she described her performance at that point as "[nothing] particularly impressive." Blunt, by contrast, found Streep's laugh relaxed her enough to keep her focused on playing a nervous, distracted Emily. The highlight of the session was Streep's first line as Miranda. Instead of the "strident, bossy, barking voice" everyone expected, Hathaway says, Streep silenced the room by speaking in a near whisper. "It was so unexpected and brilliant." At the reading Streep also changed Miranda's last line to "everybody wants to be us" from the original "me".

Streep made a conscious decision not to play the part as a direct impression of Wintour, right down to not using an accent and making the character American rather than English ("I felt it was too restricting"). "I think she wanted people not to confuse the character of Miranda Priestly with Anna Wintour at all," said Frankel. "And that's why early on in the process she decided on a very different look for her and a different approach to the character." The "that's all," "please bore someone else ..." catchphrases; her coat-tossing on Andrea's desk and discarded steak lunch are retained from the novel. Streep prepared by reading a book by Wintour protégé Liz Tilberis and the memoirs of Vogue editor Diana Vreeland. She lost so much weight during shooting that the clothes had to be taken in.

During the movie's press tour she also said her performance as Miranda was inspired by different men she knew, but did not say which ones. In 2016 she disclosed to Variety that she took Miranda's soft speaking style from Clint Eastwood: "He never, ever, ever raises his voice and everyone has to lean in to listen, and he is automatically the most powerful person in the room." However, she said, Eastwood does not make jokes, so instead she modeled that aspect of the character on theatrical and film director Mike Nichols, whose delivery of a cutting remark, she said, made everyone laugh, including the target. "The walk, I'm afraid, is mine," Streep added.

For Miranda's actual look, Streep looked to two women. The bouffant hairstyle was inspired by model and actress Carmen Dell'Orefice , which Streep said she wanted to blend with "the unassailable elegance and authority of [French politician] Christine Lagarde." The costumes Field designed for that look resulted in numerous blown takes during the montage where Miranda repeatedly throws her overcoat on Andrea's desk when she arrives in the morning. When McKenna saw Streep as Miranda for the first time on set, she recalls being so terrified she threw her arm in front of Frankel "like we were in a car wreck."

Hathaway prepared for the part by volunteering for a week as an assistant at an auction house where she was "put through the wringer" according to Weisberger, who adds that Hathaway supplemented that by asking her many questions about working for Wintour. Frankel recalls that she was nervous through most of the shooting, particularly when working late, since Raffaello Follieri, her boyfriend at that time, preferred strongly that she not do so; she was also having health issues due to a cyst. The director said she was "terrified" before starting her first scene with Streep, who had begun her working relationship with Hathaway by saying first "I think you're perfect for the role and I'm so happy we're going to be working on this together" then warning her that was the last nice thing she would say. Streep applied this philosophy to everyone else on set as well, keeping her distance from the cast and crew members unless it was necessary to discuss something with them.

That scene, where Andi delivers the Book, the mockup of the magazine in progress, to Miranda's apartment, was, according to the Dengels, who played Miranda's twin daughters, totally improvised. "That was just something we did with Anne and it made the cut," Colleen Dengel told in 2017. Nevertheless, it took three more days of filming to get the shot of the girls up in the stairwell the way Frankel wanted it, a look she believes was inspired by a similar scene with twin girls in The Shining.

Streep is the one who suggested the editorial meeting scene, which does not advance the plot but shows Miranda at work without Andrea present. It was also her idea that Miranda not wear makeup in the scene where she opens up to Andrea and worries about the effect on her daughters of her divorce becoming public knowledge. Blunt, for her part, contributed the line where she tells Andy "I'm hearing this", while opening and closing her hand, "and I want to hear this" keeping it closed. In 2015 she told Howard Stern that she had overheard a mother saying that to a child in a supermarket during production.

Frankel, who had worked with Patricia Field on his feature-film debut Miami Rhapsody as well as Sex and the City, knew that what the cast wore would be of utmost importance in a movie set in the fashion industry. "My approach was to hire her and then leave the room," he joked later. While only Valentino Garavani appeared onscreen, many other designers were helpful to Field. Her $100,000 budget for the film's costumes was supplemented by help from friends throughout the industry. Ultimately, she believes, at least $1 million worth of clothing was used in the film, making it one of the most expensively costumed movies in cinema history. The single priciest item was a $100,000 Fred Leighton necklace on Streep.

When Hathaway enters the office after Nigel gives her access to Runway's closet, she is dressed entirely in Chanel. Field explained in 2016 that "I felt Annie Hathaway was a Chanel girl organically, as opposed to let's say a Versace [or Roberto Cavalli] girl." When she called the company to ask for assistance, they were delighted because "they wanted to see Chanel on a young girl to give it another point of view," showing it as a brand for "not just middle-aged women in suits, but youthful and funky." Calvin Klein rounds out Andrea's wardrobe.

Dolce & Gabbana and Calvin Klein helped Field as well, with some contributions from Lebanese designer Georges Chakra. Although Field avoids making Streep look like Wintour, she dresses her in generous helpings of Prada (By Field's own estimate, 40% of the shoes on Streep's feet are Prada). "I know her character was originally based on Anna Wintour," Field said, "but I didn't want to copy someone's style." But, like Wintour and her Vogue predecessor Diana Vreeland, the two realized that Miranda needed a signature look, which was provided primarily by the white wig and forelock she wore as well as the clothes the two spent much time poring over look-books for. "[I]n choosing her wardrobe my idea was that she's a chief fashion editor, she has her own style," Fields told Women's Wear Daily in 2016. "We're creating an original character."

Field said she avoided prevailing fashion trends for Miranda during production in favor of a more timeless look based on Donna Karan archives and pieces by Michaele Vollbracht for Bill Blass. She did not want people to easily recognize what Miranda was wearing.

She contrasted Andrea and Emily by giving Andrea a sense of style, without much risk-taking, that would suggest clothing a fashion magazine would have on hand for shoots, clothing a recent college graduate with little sense of style would feel comfortable wearing in a fashion-conscious workplace. Blunt, on the other hand was "so on the edge she's almost falling off." For her, Field chose pieces by Vivienne Westwood and Rick Owens to suggest a taste for funkier, more "underground" clothing. After the film's release, some of the looks Field chose became popular, to the filmmakers' amusement.

Tucci praised Field's skill in putting ensembles together that were not only stylish but helped him develop his character:

She just sort of sits there with her cigarette and her hair, and she would pull stuff - these very disparate elements - and put them together into this ensemble, and you'd go, "Come on, Pat, you can't wear that with that." She'd say, "Eh, just try it on." So you'd put it on, and not only did it work, but it works on so many different levels - and it allows you to figure out who the guy is. Those outfits achieve exactly what I was trying to achieve. There's flamboyance, there's real risk-taking, but when I walk into the room, it's not flashy. It's actually very subtle. You look at it and you go, "That shirt, that tie, that jacket, that vest? What?" But it works.

He found one Dries van Noten tie he wore during the film to his liking and kept it.

After touring some offices of real fashion magazines, Jess Gonchor gave the Runway offices a clean, white look meant to suggest a makeup compact ("the chaste beiges and whites of impervious authority," Denby called it). Miranda's office bears some strong similarities to the real office of Anna Wintour, down to an octagonal mirror on the wall, photographs and a floral arrangement on the desk Gonchor later told Women's Wear Daily that he had based the set on a photo of Wintour's office he found online; the similarity led Wintour to have her office redecorated after the movie's release.

She even chose separate computer wallpaper to highlight different aspects of Blunt's and Hathaway's character: Paris's Arc de Triomphe on Blunt's suggests her aspirations to accompany Miranda to the shows there, while the floral image on Andy's suggests the natural, unassuming qualities she displays at the outset of her tenure with the magazine. For the photo of Andrea with her parents, Hathaway posed with her own mother and David Marshall Grant. The Dengel twins recalled being asked every day for three years straight if the Harry Potter advance copies were real; to their great disappointment they were not and in fact were "all gibberish". They eventually auctioned them for $586 on eBay, along with various clothing used in the film, to benefit Dress for Success, a charity which provides business clothing to help women transition into the workforce.

The McGraw-Hill building on Sixth Avenue was used for the exteriors and lobby of Elias-Clarke's headquarters.

The Runway offices are partially corridors in the neighboring Fox building and partially sets.

The Elias-Clarke cafeteria is the one at the Reuters office in Manhattan.

Nate and Andy's apartment is on the Lower East Side.

Andy gets on the subway at the Spring Street station and gets off at 51st Street, both on the Lexington Avenue Line.

Bubby's, the restaurant Nate works at (and where Andrea, Doug and Lily eat dinner on occasion) is in TriBeCa.

The Smith & Wollensky steakhouse and its kitchen were used.

The Calvin Klein showroom is used in the deleted scenes.

Holt's studio is a loft used by an actual designer.

The American Museum of Natural History was used for the exterior of the museum benefit, while the lobby of one of the Foley Square courthouses is used for the interior.

The Priestly townhouse is on the Upper East Side and belongs to a friend of Finerman's. It had to be dressed on short notice after another one could not be used.

Christian gives Andy the unpublished Harry Potter manuscript at the St. Regis Hotel's King Cole Bar.

The Amtrak train the twins are taking is going up the Hudson River at Haverstraw Bay.

Streep exits her limousine, supposedly in Paris, at 77th Street and Central Park West.

The New York Mirror newsroom where Andrea gets hired at the end of the film is that of the now-defunct New York Sun.

The café where Andy apologizes to Nate was the Mayrose at 920 Broadway (near the Flatiron Building), which has since closed. On its site is a Flying Tiger Copenhagen store.

The crew were in Paris for only two days, and used only exteriors. Streep did not make the trip.

Mark Livolsi realized, as McKenna had on the other end, that the film worked best when it focused on the Andrea-Miranda storyline. Accordingly, he cut a number of primarily transitional scenes, such as Andrea's job interview and the Runway staff's trip to Holt's studio. He also took out a scene early on where Miranda complimented Andrea. Upon reviewing them for the DVD, Frankel admitted he hadn't even seen them before, since Livolsi didn't include them in any prints he sent to the director.

Composer Theodore Shapiro relied heavily on guitar and percussion, with the backing of a full orchestra, to capture a contemporary urban sound. He ultimately wrote 35 minutes of music for the film, which were performed and recorded by the Hollywood Studio Symphony, conducted by Pete Anthony. His work was balanced with songs by U2 (" City of Blinding Lights", Miranda and Andrea in Paris), Madonna (" Vogue" & " Jump", Andrea's fashion montage & her first day on the job, respectively), KT Tunstall (" Suddenly I See", female montage during opening credits), Alanis Morissette (" Crazy", Central Park photo shoot), Bitter:Sweet ("Our Remains," Andrea picks up James Holt's sketches for Miranda; Bittersweet Faith, Lily's art show), Azure Ray ("Sleep," following the breakdown of her relationship with Nate), Jamiroquai ("Seven Days in Sunny June," Andrea and Christian meet at James Holt's party) among others. Frankel had wanted to use "City of Blinding Lights" in the film after he had used it as a soundtrack to a video montage of Paris scenes he had put together after scouting locations there. Likewise, Field had advocated just as strongly for "Vogue."

The soundtrack album was released on July 11 by Warner Music. It includes all the songs mentioned above (except Madonna's "Jump") as well as a suite of Shapiro's themes. Among the tracks not included is "Suddenly I See," which disappointed many fans. It became popular as a result of the film.

Originally intended just to convince Fox to fund some shooting in Paris, Frankel's sizzle reel led the studio to put a stronger marketing push behind the movie. It moved the release date from February to summer, scheduling it as a lighter alternative audiences could consider to Superman Returns at the end of June 2006, and began to position it as an event movie in and of itself.

Two decisions by the studio's marketing department that were meant to be preliminary wound up being integral to promoting the film. The first was the creation of the red stiletto heel ending in a pitchfork as the film's teaser poster. It was so successful and effective, becoming almost " iconic" (in Finerman's words), that it was used for the actual release poster as well. It became a brand, and was eventually used on every medium related to the film-the tie-in reprinting of the novel and the soundtrack and DVD covers as well.

Gabler credits the studio's marketing team for being "really creative". Fox saw the film as "counterprogramming" on the weekend Superman Returns was released. While they knew that the material and Hathaway would help draw a younger female audience that would not be as interested in seeing that film, "[w]e didn't want it to just seem like a chick flick coming out."

The Devil Wears Prada received positive reviews from critics. On Rotten Tomatoes the film has a rating of 75% based on 194 reviews, along with an average rating of 6.64/10. The site's critical consensus reads, "A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York's fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own." On Metacritic, the film has a score of 62 out of 100, based on 40 critics, indicating "generally favorable reviews". Audiences surveyed by CinemaScore gave the film a grade B on scale of A to F.

Initial reviews of the film focused primarily on Streep's performance, praising her for making an extremely unsympathetic character far more complex than she had been in the novel. "With her silver hair and pale skin, her whispery diction as perfect as her posture, Ms. Streep's Miranda inspires both terror and a measure of awe," wrote A. O. Scott in The New York Times. "No longer simply the incarnation of evil, she is now a vision of aristocratic, purposeful and surprisingly human grace."

Kyle Smith agreed at the New York Post: "The snaky Streep wisely chooses not to imitate Vogue editrix Anna Wintour, the inspiration for the book, but creates her own surprisingly believable character."

David Edelstein, in magazine, criticized the film as "thin", but praised Streep for her "fabulous minimalist performance." J. Hoberman, Edelstein's onetime colleague at The Village Voice, called the movie an improvement on the book and said Streep was "the scariest, most nuanced, funniest movie villainess since Tilda Swinton's nazified White Witch [in 2005's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe]."

Blunt, too, earned some favorable notice. "[She] has many of the movie's best lines and steals nearly every scene she's in," wrote Clifford Pugh in the Houston Chronicle. Other reviewers and fans concurred. While all critics were in agreement about Streep and Blunt, they pointed to other weaknesses, particularly in the story. Reviewers familiar with Weisberger's novel assented to her judgment that McKenna's script greatly improved upon it. An exception was Angela Baldassare at The Microsoft Network Canada, who felt the film needed more of the nastiness others had told her was abundant in the novel.

David Denby summed up this response in his review: " The Devil Wears Prada tells a familiar story, and it never goes much below the surface of what it has to tell. Still, what a surface!" Reactions to Hathaway's performance were not as unanimous as for many of her costars. Denby said "she suggests, with no more than a panicky sidelong glance, what Weisberger takes pages to describe." Whereas, Baldassare said she "barely carrie[d] the load."

Some media outlets allowed their present or former fashion reporters to weigh in on how realistic the movie was. Their responses varied widely. Booth Moore at Los Angeles Times chided Field for creating a "fine fashion fantasy with little to do with reality," a world that reflects what outsiders think fashion is like rather than what the industry actually is. Unlike the movie, in her experience fashionistas were less likely to wear makeup and more likely to value edgier dressing styles (that would not include toe rings). "If they want a documentary, they can watch the History Channel", retorted Field. Another newspaper fashion writer, Hadley Freeman of The Guardian, likewise complained the film was awash in the sexism and clichés that, to her, beset movies about fashion in general.

Charla Krupp, the executive editor of SHOP, Inc., says "It's the first film I've seen that got it right ... [It] has the nuances of the politics and the tension better than any film-and the backstabbing and sucking-up." Joanna Coles, the editor of the U.S. edition of Marie Claire, agreed:

The film brilliantly skewers a particular kind of young woman who lives, breathes, thinks fashion above all else ... those young women who are prepared to die rather than go without the latest Muse bag from Yves Saint Laurent that costs three times their monthly salary. It's also accurate in its understanding of the relationship between the editor-in-chief and the assistant.

Ginia Bellefante, former fashion reporter for The New York Times, called it "easily the truest portrayal of fashion culture since " and giving it credit for depicting the way fashion had changed in the early 21st century. Her colleague Ruth La Ferla found a different opinion from industry insiders after a special preview screening. Most found the fashion in the movie too safe and the beauty too overstated, more in tune with the 1980s than the 2000s. "My job is to present an entertainment, a world people can visit and take a little trip," responded Field.

On its June 30 opening weekend, right before the Independence Day holiday, the film was on 2,847 screens. Through that Sunday, July 2, it grossed $27 million, second only to the much bigger-budget Superman Returns, breaking The Patriot's six-year-old record for the largest take by a movie released that holiday weekend that did not win the weekend; a record that stood until Ice Age: Dawn of the Dinosaurs broke it in 2009.

During its first week it added $13 million. This success led Fox to add 35 more screens the next weekend, the widest domestic distribution the film enjoyed. Although it was never any week's top-grossing film, it remained in the top 10 through July. Its theatrical run continued through December 10, shortly before the DVD release.

"The core marketing was definitely to women," Gabler recalls, "but the men didn't resist going to the movie." She felt that male viewers responded favorably to the movie because they sought a glimpse inside fashion, and because Miranda "was enjoyable to watch." The release date helped generate word of mouth when people who had seen it discussed it at holiday gatherings. "They were talking about it, like a summer reading book," said Gabler.

It had a very successful run in theaters, making nearly $125 million in the United States and Canada and over $325 million worldwide, a career high for all three top-billed actresses at that time. Streep would surpass it two years later with while Hathaway exceeded it with 2010's Blunt would not be in a higher-grossing film until the 2014 movie adaptation of the Broadway musical Into the Woods (also starring Streep).

It was also Tucci's highest-grossing film until Captain America: The First Avenger in 2011.

Anna Wintour attended the film's New York premiere, wearing Prada. Her friend Barbara Amiel reported that she said shortly afterward that the movie would go straight to DVD. But in an interview with Barbara Walters that aired the day the DVD was released, she called the film "really entertaining" and said she appreciated the "decisive" nature of Streep's portrayal. "Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it." Streep said Wintour was "probably more upset by the book than the film". Wintour's popularity skyrocketed after her portrayal in The Devil Wears Prada. Streep said she did not base her character in The Devil Wears Prada on Anna Wintour, instead saying she was inspired by men she had known previously: "Unfortunately you don't have enough women in power, or at least I don't know them, to copy."

The Devil Wears Prada topped the charts on its first major European release weekend on October 9, after a strong September Oceania and Latin America opening. It would be the highest-grossing film that weekend in Britain, Spain and Russia, taking in $41.5 million overall. Continued strong weekends as it opened across the rest of Europe helped it remain atop the overseas charts for the rest of the month. By the end of the year only its Chinese opening remained; it was released there at the end of February 2007 and took in $2.4 million.

The greatest portion of the $201.8 million total international box office came from the United Kingdom, with $26.5 million. Germany was next with $23.1 million, followed by Italy at $19.3 million and France at $17.9 million. Outside Europe, Japanese box office was the highest at $14.6 million, followed by Australia at $12.6 million.

Most reviews from the international press echoed the domestic response, heaping praise on Streep and the other actors, but calling the whole film "predictable." The Guardian's Peter Bradshaw, who found the film "moderately entertaining," took Blunt to task, calling her a "real disappointment ... strained and awkward." In The Independent, Anthony Quinn said Streep "may just have given us a classic here" and concluded that the film as a whole was "as snappy and juicy as fresh bubblegum."

In most markets the title remained unchanged; either the English was used or a translation into the local language. The only exceptions were Chile, Colombia, Ecuador, Mexico and Venezuela, where it was El diablo que viste Prada and El diablo se viste a la moda. In Poland, the title was Diabeł ubiera się u Prady which roughly means "The Devil dresses (itself) at Prada" rather than "The Devil Wears Prada." In Italian the title was ″Il diavolo veste Prada" which roughly means "The devil wears Prada". In Turkey, the title was "Şeytan Marka Giyer," roughly translated as "The Devil Wears Brand-Names." In Romania, the title was "Diavolul se îmbracă de la Prada," which roughly means "The Devil Dresses itself from Prada", the same construction being found in the French title, "Le Diable s'habille en Prada". The Japanese version is titled "プラダを着た悪魔", which translates as "The devil wearing Prada".

Three months after the film's North American release (October 2006), Frankel and Weisberger jointly accepted the first Quill Blockbuster Book to Film Award. A committee of staffers at the magazine made the nominations and chose the award winner. Editor Peter Bart praised both works.

'The Devil Wears Prada' is an energetically directed, perfect-fit of a film that has surprised some in the industry with its box-office legs. It has delighted the country, much as did Lauren Weisberger's book, which is still going strong on several national bestseller lists.

The film was honored by the National Board of Review as one of the year's ten best. The American Film Institute gave the film similar recognition.

The film received ample attention from the Hollywood Foreign Press Association when its Golden Globe Award nominations were announced in December. The film itself was in the running for Best Picture (Comedy/Musical) and Supporting Actress (for Blunt). Streep later won the Globe for Best Actress (Musical/Comedy).

In January 2007, Streep's fellow members of the Screen Actors Guild nominated her for Best Actress as well. Four days later, at the National Society of Film Critics awards, Streep won Best Supporting Actress for her work both in Devil and A Prairie Home Companion. McKenna earned a nomination from the Writers Guild of America Award for Best Adapted Screenplay.

When the British Academy of Film and Television Arts announced its 2006 nominations, Blunt, Field, McKenna and Streep were all among the nominees. Makeup artist and hairstylists Nicki Ledermann and Angel de Angelis also were nominated.

At the end of January, Streep received her 14th Academy Award nomination for Best Actress, lengthening her record from 13 for most nominations by any actor male or female. Field received a Best Costume Design nomination as well. Neither won, but Blunt and Hathaway presented the last mentioned award, amusing the audience by slipping into their characters for a few lines, nervously asking which of them had gotten Streep her cappuccino. Streep played along with a stern expression before smiling.

The success of the film led to a proposed, but unrealized, American dramedy series that was in contention to air for the 2007-08 television season on Fox. It was to be produced by Fox Television Studios, with the premise adjusted for the confines of a traditional half-hour or one-hour dramedy with a single camera set-up. However, it never reached the point of even producing a pilot episode.

With the video release came renewed interest in Weisberger's novel. It ranked eighth on s list of 2006 best sellers and was the second most borrowed book in American libraries. The audiobook version was released in October 2006 and quickly made it to third on that medium's fiction best seller list.

The DVD was released on December 12, 2006 and has, in addition to the film, the following extras:

Audio commentary from Frankel, editor Mark Livolsi, Field, screenwriter Aline Brosh McKenna, producer Wendy Finerman and cinematographer Florian Ballhaus.

A five-minute blooper reel featuring, among other shots, unintentional pratfalls by Hathaway due to the high stiletto heels she had to wear. It also includes gag shots such as a chubby crewmember in loose-fitting clothing walking along the runway at the fashion show, and Streep announcing "I have some nude photographs to show you" at the Paris brunch scene. Unlike most blooper reels, it is not a collection of sequential takes but rather a fast-paced montage set to music from the film with many backstage shots and a split screenshot allowing the viewer to compare the actual shot with the blooper. The many shots of actors touching their noses are, Rich Sommer says, a game played to assign blame for ruined takes.

Five featurettes

"Trip to the Big Screen", a 12-minute look at the film's pre-production, discussing the changes made from the novel, how Frankel was chosen to direct and other issues.

"NYC and Fashion", a look at the real New York fashion scene and how it is portrayed in the film.

"Fashion Visionary Patricia Field", a profile of the film's costume designer.

"Getting Valentino", covering how the designer was persuaded to appear as himself in the film.

"Boss from Hell", a short segment on difficult, nightmarish superiors like Priestly.

Fifteen deleted scenes, with commentary from Frankel and Livolsi available (see below).

The theatrical trailer, and promotional spots for the soundtrack album and other releases.

Closed captions in French and Spanish are also available. The DVD is available in both full screen and widescreen versions. Pictures of the cast and the tagline "Hell on Heels" were added to the red-heel image for the cover. It was released in the UK on February 5, 2007.

Immediately upon its December 12 release, it became the top rental in the United States. It held that spot through the end of the year, adding another $26.5 million to the film's grosses; it dropped out of the top 50 at the end of March, with its grosses almost doubling. The following week it made its debut on the DVD sales charts in third position. By the end of 2007 it had sold nearly 5.6 million units, for a total of $94.4 million in sales.

Among the deleted scenes are some that added more background information to the story, with commentary available by the editor and director. Most were deleted by Livolsi in favor of keeping the plot focused on the conflict between Miranda and Andrea, often without consulting Frankel.

Frankel generally approved of his editor's choices, but differed on one scene, showing more of Andrea on her errand to the Calvin Klein showroom. He felt that scene showed Andrea's job was about more than running personal errands for Miranda.

A different version of the scene at the gala was the subject of a 2017 discussion on Twitter when it was rediscovered by Spencer Althouse, 's community manager. In it, instead of Andy reminding Miranda of a guest's name after the sickened Emily cannot, Miranda's husband shows up and makes rude comments to not only his wife but Ravitz, the head of Elias-Clark. Andrea earns a silent "thank you" from Miranda when she helps prevent the confrontation from escalating by diverting Raviz with a question of her own.

Althouse and many of the other participants on the thread disagreed as to whether it should have been used; those who said it was properly cut believed that it would have been out of character for Miranda at that point in the film. All agreed, as wrote, that "[t]his one, brief exchange would have completely changed the movie."

In 2016, around the 10th anniversary of the film's release, Vanity Fair did a rundown of some Independence Day weekend movie box results from the previous 15 years, noting how some better-remembered films had been bested by films that have not stood the test of time. It called Superman Returns' win over The Devil Wears Prada the "most ironic" of these victories. "[T]he degree to which The Devil Wears Prada has penetrated pop culture needs no explanation-as does the degree to which Superman Returns didn't."

The cast's opinions on why the movie has endured differ. Hathaway told Variety that she thinks many people relate to Andy's predicament of working for someone who seems impossible to please. "Everybody has had an experience like this." Tucci did not believe specific explanations were necessary. "It's a fucking brilliant movie ... The brilliant movies become influential, no matter what they are about."

The cast members bonded tightly on the set, and remained close afterwards. Blunt invited them to her wedding to John Krasinski in 2010. There, Tucci met her sister Felicity, whom he later married. "Ten years after The Devil Wears Prada, Stanley is in my actual family," she told Variety. "How frightening is that?"

In its anniversary story, argued that it had benefited all three of its lead actresses. In addition to Streep's record-setting Oscar nomination, the magazine observed, it had proven that she could be a box-office draw by herself, opening doors up for her to be cast as a lead in later summer movies such as Julie & Julia and For Hathaway, it was her first leading role in a film intended for an adult audience. Subsequent producers were impressed that she had held her own playing opposite Streep, which led eventually to her being cast in more serious roles like Rachel Getting Married and Les Misérables, for which she won an Oscar. "I think what people saw was promising-it made people want to see more."

Hathaway believes that Blunt's career took off because of her role. "I've never witnessed a star being born before," Hathaway says. "That's the first time I watched it happen." Blunt agrees that it was "a night and day change" for her-the day after the film was released, she told Variety, the staff at the coffee shop she had been going to for breakfast every morning in Los Angeles suddenly recognized her. Even ten years later, people still quote her lines from the film back to her at least once a week, she says.

"[The film] definitely paved the way for the filmmakers and distributors of the world to know that there was a female audience that was really strong out there", Gabler recalls, one that was not segmented by age. She pointed to later movies, such as Mamma Mia!, (written by McKenna) and Me Before You, that appeared to her to be trying to replicate The Devil Wears Prada's success with that demographic. However, Gabler feels they did not do so as well. " Prada reminds me of movies that we don't have a lot of now-it harkens back to classic movies that had so much more than just one kind of plot line ... You just keep wanting to find something that can touch upon the same zeitgeist as this film."

For Streep, the most significant thing about the film was that "[t]his was the first time, on any movie I have ever made, where men came up to me and said, 'I know what you felt like, this is kind of like my life.' That was for me the most ground-breaking thing about Devil Wears Prada -it engaged men on a visceral level," she told .

The film has made a lasting impact on popular culture. Although a TV series based on it was not picked up, in the years after its release The Simpsons titled an episode " The Devil Wears Nada" and parodied some scenes. The American version of began an episode with Steve Carell as Michael Scott imitating Miranda after watching the film on Netflix. On episode 18 of season 14 of Keeping Up with the Kardashians, Kris Jenner dressed as Miranda, channeling her 'Boss Lady' persona. In 2019, reports that Minnesota Senator Amy Klobuchar, then seeking the Democratic presidential nomination for the 2020 election, mistreated her staff and made unreasonable demands of them led some writers to invoke Miranda as a point of reference.

In 2008, The New York Times wrote that the movie had defined the image of a personal assistant in the public mind. Seven years later, 's Francesca Mari wrote about "the assistant economy" by which many creative professionals rely on workers so titled to do menial personal and professional tasks for them; she pointed to The Devil Wears Prada as the best-known narrative of assistantship. The next year, writing about a proposed change in U.S. federal overtime regulations that was seen as threatening to that practice, the Times called it the ' Devil Wears Prada' economy", a term other news outlets also used.

On the film's 10th anniversary, Alyssa Rosenberg wrote in The Washington Post that Miranda anticipated female antiheroines of popular television series of the later 2000s and 2010s such as 's Olivia Pope and Cersei Lannister in Game of Thrones. Like them, she observes, Miranda competently assumes a position of authority often held by male characters, despite her moral failings, that she must defend against attempts to use her personal life to remove her from it, to "prov[e], as a creature of sentiment, that she never belonged there in the first place." In doing so, however successfully to herself and others, "she has zipped herself into a life as regimented and limited as a skintight pencil skirt."

Another character from the film has provoked a negative reaction from viewers, particularly those who have watched the film several times: Nate. "He mocks her for her new interest in fashion, he trivializes the magazine she works at, and dismisses her hard work", Entertainment Weekly wrote in 2017, collecting some tweets and other posts from social media critical of the character. Many, like the writer, found it particularly upsetting that he berated Andrea for missing his birthday party even though she had a good work-related reason for her absence.

McKenna defended the character. "[W]hat people focus on is that he's trying to restrict her ambition," she told EW. "But her ambition is going towards something that she doesn't really believe in, so he has a point." While she admitted he seemed "whiney" about his birthday, McKenna also pointed out that he tells Andrea later that that really wasn't what he was upset about. She gave Grenier credit for what she admitted was a "thankless" role, saying he captured "that actual college boyfriend, that guy who's a drummer in a cool band, and plays intramural rugby, and plays guitar, and maybe took a ceramics class."

"Like many instant classics, Prada benefited from perfect timing", Variety's 2016 article observed, attempting to explain the film's enduring appeal. "It marked the beginning of the democratization of the fashion industry-when the masses started to pay attention to the business of what they wore." It credited the movie with helping stir interest in the American adaptation of the Colombian television series , which debuted months after its release.

The film also has been credited with increasing interest in R.J. Cutler's documentary The September Issue, which followed Wintour and other editors as they prepared the issue for that month of 2007. Writing in on the tenth anniversary, Alison Herman observed that " The Devil Wears Prada transformed Wintour's image from that of a mere public figure into that of a cultural icon." Once known primarily as a fashion editor, she was now "every overlord you'd ever bitched about three drinks deep at happy hour, only to dutifully fetch her coffee the next day." Ultimately, the film had effected a positive change in Wintour's image, Herman argued, "from a tyrant in chinchilla to an idol for the post- Sandberg age."

As the film turned 10, Variety's 2016 article stated, '[The characterization] showed Hollywood that it was never wise to underestimate a strong woman's worth.'

In 2013, Weisberger wrote a sequel, Revenge Wears Prada. However, it does not seem likely that a film version of it, or any sequel, will be made, as two of the film's stars are not eager to do so. Streep has reportedly said that she is not interested in making a sequel for this film in particular. And while Hathaway admits she'd be interested in working with the same people, it would have to be "something totally different." The Devil Wears Prada, she told Variety "might have just hit the right note. It's good to leave it as it is."

In 2015, it was reported that Broadway producer Kevin McCollum had signed a deal two years earlier with Fox to develop some of the films from its back catalog into musicals for the stage. Two he expressed particular interest in were Mrs. Doubtfire and The Devil Wears Prada. Early in 2017, McCollum announced that in partnership with Fox Stage Productions, he was developing a musical version of The Devil Wears Prada (based on both the film and the book). Sir Elton John and Shaina Taub will be writing the score and lyrics for the project with playwright Paul Rudnick, who had written some early scenes for the screenplay, writing the book and lyrics. McCollum did not say when he expected it to premiere but hoped it would eventually play on Broadway.

In July 2019, the show held its first industry-only presentation of the initial reading for the show. It featured Emily Skinner as Miranda, Krystina Alabado as Andy, Heléne Yorke as Emily and Mario Cantone as Nigel. There has been no announcement about future workshops or tryouts before the anticipated Broadway run.

In late September a premiere run was announced for July and August 2020 at the James M. Nederlander Theatre in Chicago. According to producer Kevin McCollum, it was important to director Anna D. Shapiro, artistic director of the Steppenwolf Theater Company, also located in Chicago, to have the show premiere there. Afterwards the show is expected to make its Broadway debut; where and when have not been announced.

Weisberger, Laura (2003). The Devil Wears Prada. New York: Broadway Books. ISBN 0-7679-1476-7.

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The Devil Wears Prada is a 2006 American comedy-drama film directed by David Frankel and produced by Wendy Finerman. The screenplay, written by Aline Brosh McKenna, is based on Lauren Weisberger's 2003 novel of the same name.

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Novel “Hello, Cello.” merupakan karya Nadia Ristivani ini mengisahkan tentang seorang gadis bernama Helga yang juga merupakan seorang penulis. Di mana ketika ia memiliki kisah patah hati, ia akan menuangkannya dalam bukunya. Sampai akhirnya ia bertemu dengan Cello, seorang buaya yang paling populer dan hits di kampusnya. Pada awalnya memang Cello menjadikan Una, yang merupakan sahabat Helga, sebagai ‘target’-nya. Tak disangka, usahanya justru gagal dan malah mendekatkan Cello dengan Helga. Sinopsis : Jatuh cinta lagi? Hmm, sepertinya itu tak ada lagi dalam kamus Helga. Kegagalannya dalam urusan cinta dan selalu disakiti oleh cowok, membuatnya sudah merasa cukup! Untuk apa mengulangi semuanya lagi dari awal? Sebagai seorang penulis, Helga selalu mengabadikan hal yang berkesan di dalam hidupnya dalam bentuk buku. Dan di tengah proses penulisan buku keenamnya, ia malah dipertemukan dengan seorang ‘buaya’ tampan bernama Cello. Cello yang awalnya ingin mendekati Una – yaitu seorang gadis yang populer di kampusnya, justru terjebak dan malah semakin dekat dengan Helga yang aneh dan ajaib karena sering berpikir dan bersikap terlalu random. Namun, siapa sangka Cello malah semakin penasaran dengan gadis yang hatinya sudah membeku seperti itu? Baginya, Helga merupakan sosok yang ‘unik’ dan belum pernah ia jumpai sebelumnya. Mampukah Cello, akhirnya menaklukan hati Helga?

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Deskripsi Buku

Novel "Hello, Cello." merupakan karya Nadia Ristivani ini mengisahkan tentang seorang gadis bernama Helga yang juga merupakan seorang penulis. Di mana ketika ia memiliki kisah patah hati, ia akan menuangkannya dalam bukunya. Sampai akhirnya ia bertemu dengan Cello, seorang buaya yang paling populer dan hits di kampusnya. Pada awalnya memang Cello m ...

Novel "Hello, Cello." merupakan karya Nadia Ristivani ini mengisahkan tentang seorang gadis bernama Helga yang juga merupakan seorang penulis. Di mana ketika ia memiliki kisah patah hati, ia akan menuangkannya dalam bukunya. Sampai akhirnya ia bertemu dengan Cello, seorang buaya yang paling populer dan hits di kampusnya. Pada awalnya memang Cello menjadikan Una, yang merupakan sahabat Helga, sebagai 'target'-nya. Tak disangka, usahanya justru gagal dan malah mendekatkan Cello dengan Helga. Sinopsis : Jatuh cinta lagi? Hmm, sepertinya itu tak ada lagi dalam kamus Helga. Kegagalannya dalam urusan cinta dan selalu disakiti oleh cowok, membuatnya sudah merasa cukup! Untuk apa mengulangi semuanya lagi dari awal? Sebagai seorang penulis, Helga selalu mengabadikan hal yang berkesan di dalam hidupnya dalam bentuk buku. Dan di tengah proses penulisan buku keenamnya, ia malah dipertemukan dengan seorang 'buaya' tampan bernama Cello. Cello yang awalnya ingin mendekati Una - yaitu seorang gadis yang populer di kampusnya, justru terjebak dan malah semakin dekat dengan Helga yang aneh dan ajaib karena sering berpikir dan bersikap terlalu random. Namun, siapa sangka Cello malah semakin penasaran dengan gadis yang hatinya sudah membeku seperti itu? Baginya, Helga merupakan sosok yang 'unik' dan belum pernah ia jumpai sebelumnya. Mampukah Cello, akhirnya menaklukan hati Helga? Tentang Buku: Judul: Hello, Cello. Penulis: Nadia Ristivani Penerbit: Bukune Tanggal Terbit: 28 Mei 2022 ISBN: 9786022204381 Jumlah Halaman: 428 halaman Berat: 0,295 kg Lebar: 13 cm Panjang: 18,5 cm

Detail

Jumlah Halaman Penerbit
428.0
Bukune

Tanggal Terbit Berat
19 Jun 2023

0.295 kg

ISBN Lebar
9786022204381

13.0 cm

Bahasa Panjang
Indonesia

18.5cm

Mohon pilih format terlebih dahulu

Toko buku online terbesar, terlengkap dan terpercaya di Indonesia

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Jual Novel Hello, Cello Karya Nadia Ristivani

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Jual Novel Hello, Cello Karya Nadia Ristivani. Buku novel fiksi - romance dengan harga termurah berkualitas. Produk dijamin ✓ Berkualitas ✓ Pengiriman Cepat ✨ 100% Original

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Saat aku kecil, aku memang bisa melihat hal-hal gaib tapi satu kejadian ini aku gabakal melupakannya. Hari itu sekolah aku mengadakan pentas tari di angkatan 16 dan disana ada flying fox dan activity lainnya. Aku dari kecil memang penakut jadi ibu ku sangat kaget saat aku minta untuk menaiki flying fox, tapi ibu ku tidak terlalu kepikiran tentang itu.

Saat sampai di rumah aku langsung bersih-bersih dan tidur, tapi saat jam 12 malam tiba-tiba aku kebangun dan nyinden dengan bahasa jawa. Ibu dan ayah aku langsung kebangun dan menelfon abi aku untuk meminta pertolongan. Setelah itu ayah ku memanggil uztad dan mendoakan ku lalu roh nya keluar.

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Labubu adalah fenomena populer yang dikenal dengan perpaduan antara "cute and creepy". Boneka ini bagian dari budaya "blind box" yang membuat pembeli tidak tahu karakter apa yang akan mereka dapatkan sebelum membuka kotak. Ketertarikan terhadap Labubu bisa dijelaskan dengan konsep "uncanny valley," di mana manusia merasa tertarik sekaligus terganggu oleh objek yang hampir menyerupai manusia namun memiliki elemen yang tidak wajar​

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Keunikan Labubu: Karakter Gemas dari Pop Mart yang Miliki Kisah Seru

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Keunikan Labubu, karakter menggemaskan dari Pop Mart yang menjadi favorit kolektor. Dengan desain unik dan cerita menarik, Labubu menawarkan pengalaman koleksi yang eksklusif

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1. Grammy Awards 2024 dijadwalkan akan berlangsung pada 4 Februari 2024, di Crypto.com Arena, Los Angeles, California.

2. Ada beberapa kategori baru di Grammy 2024, seperti "Best African Music Performance", yang menunjukkan pengakuan atas berkembangnya musik Afrika di panggung global.

3. Grammy 2024 akan membagi kategori ini menjadi dua, yakni untuk grup dan duo pop secara terpisah.

4. Beberapa artis ternama diperkirakan akan mendapatkan banyak nominasi, termasuk Taylor Swift, Olivia Rodrigo, SZA, dan Doja Cat, berkat karya-karya populer mereka di tahun 2023.

5. Grammy biasanya memberikan penghargaan Lifetime Achievement kepada artis-artis legendaris. Untuk tahun 2024, beberapa artis veteran mungkin akan diakui untuk kontribusi mereka yang luar biasa dalam industri musik.

6. Grammy Awards selalu menyuguhkan pertunjukan spesial dari artis-artis papan atas. Penampilan dari bintang-bintang besar seperti Beyoncé, Adele, atau Harry Styles diharapkan memeriahkan acara ini.

7. Seperti tahun-tahun sebelumnya, Grammy 2024 diharapkan memanfaatkan teknologi terkini untuk memperindah acara, termasuk dalam visual, pencahayaan, dan tata suara.

8. Grammy telah berkembang menjadi lebih inklusif dalam beberapa tahun terakhir, dengan semakin banyak artis dari berbagai genre dan latar belakang yang mendapatkan pengakuan. Grammy 2024 akan mencerminkan tren ini dengan nominasi yang lebih beragam.

9. Lagu-lagu dengan pesan sosial dan politik yang kuat, seperti tentang keadilan rasial, kesetaraan gender, dan perubahan iklim, diperkirakan akan mendapatkan tempat penting di Grammy 2024.

10. Musik streaming semakin menjadi tolok ukur penting dalam menilai kesuksesan artis. Data streaming dari platform seperti Spotify, Apple Music, dan YouTube akan sangat mempengaruhi siapa saja yang akan mendapatkan nominasi di Grammy 2024.

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10 poin penting dari perjuangan RA kartini

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10 poin penting dari perjuangan RA kartini

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1. Perjuangan untuk Pendidikan Perempuan: RA Kartini berjuang agar perempuan mendapatkan hak yang sama untuk memperoleh pendidikan, karena pada zamannya perempuan, terutama dari kalangan bangsawan Jawa, hanya sedikit yang diizinkan untuk bersekolah.

2. Pendirian Sekolah untuk Perempuan: Kartini mendirikan sekolah untuk anak perempuan di Jepara setelah menikah. Tujuannya adalah memberikan akses pendidikan kepada perempuan, sehingga mereka bisa menjadi mandiri dan berdaya.

3. Surat-Surat Kartini: Kartini menulis banyak surat kepada teman-teman korespondensinya di Belanda, seperti Stella Zeehandelaar, yang mengungkapkan pemikirannya tentang pendidikan, emansipasi wanita, dan ketidakadilan yang dialami perempuan Jawa. Surat-surat ini kemudian dibukukan dalam "Habis Gelap Terbitlah Terang."

4. Pemikiran Tentang Emansipasi Wanita: Kartini mengkritik sistem patriarki yang membatasi kebebasan perempuan, terutama di lingkungan bangsawan Jawa. Dia percaya bahwa perempuan memiliki hak untuk hidup merdeka dan setara dengan laki-laki.

5. Pengaruh Pemikiran Barat: Melalui surat-suratnya dengan teman-teman Belanda, Kartini terpengaruh oleh gagasan liberalisme, feminisme, dan kebebasan individu dari Barat, yang membuatnya semakin gigih dalam memperjuangkan hak-hak perempuan.

6. Perlawanan Terhadap Tradisi Feodalisme: Kartini menolak beberapa tradisi feodal yang merugikan perempuan, seperti kawin paksa dan pingitan, yang mengurung perempuan dari interaksi sosial dan pendidikan.

7. Dukungan dari Keluarga: Meskipun Kartini hidup dalam lingkungan yang konservatif, ayahnya, Raden Mas Adipati Ario Sosroningrat, memberikan dukungan terhadap pendidikannya. Namun, setelah usia tertentu, Kartini masih harus menghadapi keterbatasan yang ada.

8. Pemikiran Tentang Kemandirian Ekonomi Perempuan: Selain pendidikan, Kartini juga memikirkan bagaimana perempuan bisa mandiri secara ekonomi. Dia berkeinginan agar perempuan dapat memiliki keterampilan yang memungkinkan mereka bekerja dan menghidupi diri sendiri.

9. Warisan Intelektual: Meskipun Kartini meninggal pada usia muda (25 tahun), ide-idenya tetap hidup dan menjadi inspirasi bagi banyak perempuan Indonesia. Setelah kematiannya, buku kumpulan surat-suratnya diterbitkan dan menjadi salah satu teks penting dalam gerakan emansipasi perempuan Indonesia.

10. Hari Kartini: Untuk menghormati perjuangannya, tanggal kelahirannya, 21 April, diperingati sebagai Hari Kartini di Indonesia. Hari ini dirayakan sebagai momentum untuk mengingat perjuangan Kartini dalam meningkatkan peran dan martabat perempuan di Indonesia.

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Latar Belakang Sosial dan Politik: Pangeran Diponegoro lahir pada 11 November 1785, dari keluarga kerajaan Yogyakarta. Dia menyaksikan ketidakpuasan rakyat terhadap penjajah Belanda yang semakin menekan lewat pajak dan kebijakan yang tidak adil terhadap pribumi.

Pemicu Perang Jawa: Salah satu pemicu utama Perang Jawa adalah pembangunan jalan oleh pemerintah kolonial Belanda yang melewati tanah leluhur Diponegoro tanpa izin. Hal ini dianggap sebagai bentuk penghinaan besar terhadap hak tradisionalnya.

Perlawanan Terhadap Penjajahan Belanda: Diponegoro memimpin perlawanan besar melawan Belanda selama Perang Jawa (1825-1830), yang menjadi salah satu perang terbesar di era kolonial Belanda di Indonesia. Perang ini melibatkan gerilya dan pertempuran yang tersebar di berbagai wilayah Jawa.

Strategi Gerilya: Diponegoro menggunakan strategi perang gerilya, memanfaatkan pengetahuan lokal tentang geografis Jawa untuk menyerang pasukan Belanda secara tiba-tiba dan efektif. Taktik ini menyulitkan Belanda untuk memenangkan perang secara cepat.

Motivasi Keagamaan dan Sosial: Diponegoro juga dipandang sebagai pemimpin spiritual yang ingin memulihkan nilai-nilai Islam di Jawa. Dia percaya bahwa perjuangannya adalah perang suci melawan ketidakadilan, sehingga mendapat dukungan besar dari masyarakat Jawa, terutama kalangan petani.

Dukungan Rakyat: Perang Diponegoro didukung oleh banyak rakyat Jawa, terutama petani yang kecewa dengan kebijakan pajak yang berat dari Belanda serta ketidakadilan sosial yang semakin memburuk. Perang ini dipandang sebagai pemberontakan rakyat.

Dampak Ekonomi dan Sosial Perang Jawa: Perang Jawa menyebabkan kehancuran ekonomi dan sosial besar-besaran di Pulau Jawa. Banyak desa dihancurkan, lahan pertanian terbengkalai, dan ribuan orang tewas atau mengungsi akibat perang yang berlangsung lima tahun ini.

Pengkhianatan dan Penangkapan: Pada tahun 1830, Pangeran Diponegoro ditangkap oleh pihak Belanda melalui cara licik. Setelah diundang untuk bernegosiasi, Diponegoro justru ditangkap oleh Jenderal De Kock di Magelang dan dipenjara.

Pengasingan di Manado dan Makassar: Setelah penangkapannya, Diponegoro diasingkan ke Manado, Sulawesi Utara, dan kemudian dipindahkan ke Makassar, Sulawesi Selatan. Ia menghabiskan sisa hidupnya di pengasingan hingga meninggal pada tahun 1855.

Warisan Perjuangan: Perjuangan Diponegoro menjadi simbol penting dalam perlawanan rakyat Indonesia terhadap penjajahan. Ia dikenang sebagai pahlawan nasional yang memperjuangkan kebebasan dan martabat rakyatnya. Kisah perjuangannya menjadi inspirasi dalam gerakan nasionalisme Indonesia di kemudian hari.

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Di sebuah dunia jauh, ada sebuah kota yang melayang di atas awan. Kota ini hanya bisa diakses oleh mereka yang memiliki hati murni dan pikiran penuh harapan. Di kota ini, langit selalu berwarna ungu, dan burung-burung bernyanyi dengan nada yang belum pernah terdengar di bumi. Di sana, seorang gadis bernama Lia menemukan bahwa dia memiliki kekuatan untuk mengendalikan cuaca dengan emosinya, dan dia harus belajar menggunakannya untuk menjaga keseimbangan kota dari kehancuran.

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Di sebuah lautan yang tak terjamah oleh manusia, ada sebuah pulau yang muncul hanya sekali setiap seribu tahun. Pulau itu dikenal sebagai Pulau Ajaib, tempat di mana semua mimpi yang terlupakan oleh manusia terwujud menjadi nyata. Seorang pelaut muda, Arka, menemukan pulau ini setelah badai besar menghantam kapalnya. Di pulau tersebut, ia harus bertemu dengan sosok-sosok dari mimpinya yang terlupakan dan menghadapi kenyataan yang tak pernah ia duga.

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Di sebuah desa kecil, ada sebuah pohon kuno yang dipercaya bisa mengabulkan satu permintaan setiap seratus tahun. Pohon itu dikenal sebagai Pohon Harapan. Ketika seorang anak yatim piatu bernama Sari tanpa sengaja menemukan pohon itu, ia diberikan kesempatan untuk mengajukan permintaan. Namun, sebelum membuat permintaan, ia harus menjalani perjalanan untuk menemukan apa yang benar-benar ia inginkan di dalam hatinya.

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Di sebuah kerajaan yang makmur, ada seorang raja yang tidak pernah memperlihatkan wajahnya. Ia selalu memakai topeng emas yang bersinar, dan rakyatnya percaya bahwa ia adalah setengah dewa. Suatu hari, seorang pemuda pemberani bernama Aryo bertekad untuk menemukan rahasia di balik topeng itu. Dalam perjalanannya, Aryo menyadari bahwa raja bukanlah siapa yang ia kira, dan seluruh kerajaan berada di ambang kehancuran akibat sebuah kutukan kuno.

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Di kedalaman laut yang gelap, tersembunyi sebuah kerajaan yang berkilauan dengan permata laut dan terumbu karang emas. Kerajaan ini diperintah oleh Ratu Nerina, penguasa yang bijaksana namun kesepian. Suatu hari, seorang penyelam manusia tanpa sengaja menemukan jalan masuk ke kerajaan ini. Dengan bantuan makhluk laut misterius, ia harus membantu Ratu Nerina mengalahkan ancaman yang datang dari kegelapan laut terdalam.

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Seorang penemu muda bernama Fira menciptakan mesin waktu pertamanya dari komponen-komponen bekas. Namun, alih-alih menjelajah ke masa lalu atau masa depan, Fira malah tiba di dunia paralel yang sepenuhnya berbeda dari dunianya. Di dunia itu, sejarah, teknologi, dan bahkan kehidupan itu sendiri beroperasi dengan cara yang tidak masuk akal. Fira harus menemukan cara untuk pulang, namun setiap langkah yang diambil mengubah masa depan dunianya sendiri.

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Di galaksi yang jauh, terdapat planet yang seluruh permukaannya terbuat dari kaca. Di sini, penduduknya adalah makhluk bercahaya yang dapat melihat masa depan mereka dalam pantulan kaca. Namun, ketika seorang ilmuwan dari Bumi tiba untuk menjelajahi planet ini, ia menemukan bahwa penduduk planet tersebut tidak pernah benar-benar hidup di masa kini. Ia harus membantu mereka memahami arti dari hidup di saat ini, bukan hanya melihat masa depan.

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Di sebuah dunia dengan dua matahari, kehidupan berjalan dengan aturan yang sangat berbeda. Siang hari berlangsung selama enam bulan, sementara malam berlangsung selama enam bulan berikutnya. Seorang anak bernama Dewa, yang lahir di perbatasan antara siang dan malam, menyadari bahwa ia memiliki kekuatan untuk mempengaruhi pergerakan kedua matahari. Namun, ketika keseimbangan siang dan malam terancam, Dewa harus memutuskan apakah ia akan menggunakan kekuatannya untuk menyelamatkan dunia atau mempertahankan misteri yang selama ini tersembunyi.

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Di tengah malam yang sunyi, Raka terbangun oleh bisikan lembut yang datang dari cermin tua di kamarnya. Saat dia mendekat, bayangan di cermin berubah menjadi gerbang bercahaya yang memancarkan aura mistis. Dengan rasa penasaran yang mengalahkan ketakutannya, Raka menyentuh permukaan cermin, dan seketika tubuhnya tersedot masuk ke dalam dunia lain. Di dunia itu, semua benda mati bisa berbicara—pohon bercerita tentang masa lalu, sungai mengalirkan pesan dari bintang, dan batu-batu membimbing Raka menuju sebuah menara kristal di mana kebenaran tentang asal-usul dirinya tersimpan.

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Kalea adalah anak yang sangat suka petualangan, ia anak yang pintar dan mempunyai banyak teman ia memiliki mata berwarna hijau yang bersinar dan rambut panjang berwarna coklat

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https://docs.google.com/document/d/1sRx6tNadHHyIk6p7-cx3ui1GDuSxdrrKY8VDhxzEc-w/edit?usp=sharing