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Winnipeg Free Press
5 days ago
- Entertainment
- Winnipeg Free Press
High-octane F1: The Movie earns spot on podium for Free Press writers
At the start of every Formula One race, the cars line up in the order in which they qualified before five red lights illuminate and then go dark. Sky Sports commentator David (Crofty) Croft exclaims, 'It's lights out, and away we go!' as 20 drivers from 10 teams hit the gas in their single-seater, sponsor-adorned racecars. F1: The Movie • Starring Brad Pitt, Damson Idris, Kerry Condon and Javier Bardem • Grant Park, Kildonan Place, McGillivray, Polo Park, St. Vital • 155 minutes, PG F1: The Movie tells the story of a fictional 11th team, the struggling APXGP Formula 1 outfit. The film stars Brad Pitt as Sonny Hayes, an almost-was American driver who had a major crash in the mid-1990s and disappeared from mainstream racing. He's brought back by a former teammate turned team boss, played by Javier Bardem, to mentor a young driver named Joshua Pearce (Damson Idris). The on-track battles — filmed at actual racetracks alongside real F1 cars — are but part of the story, the rest involving shady business dealings, a burgeoning relationship between Hayes and APXGP technical director Kate McKenna (played by Better Call Saul's Kerry Condon), and the struggle to keep the team from folding. Directed by Joseph Kasinski and produced by Jerry Bruckheimer — the duo that brought Top Gun: Maverick to the masses — the film was granted unprecedented access to the racetracks to get footage, with Idris and Pitt venturing onto the tracks in real (albeit slightly slower) racecars. So, is F1: The Movie a podium contender, taking an even higher spot than Netflix's popular Drive to Survive series? Or does it sputter to a halt? Free Press writers and F1 superfans Scott Billeck, Julia-Simone Rutgers and Ben Sigurdson buckled up to see what the film has under the hood. The following post-screening chat has been edited for length and clarity. Ben: I thought the the racing aspects of the film were phenomenal. I know they used some CGI in there to swap in their car's colours onto another car from real race footage, but it was seamless. The realism of the races was quite stunning. You've got Brad Pitt and Damson Idris lined up before the race for the anthems with the other drivers, and later in the film you've got one of the APXGP drivers on the podium with real F1 drivers, little cameos and stuff like that — the fans will obviously eat that up. Warner Bros. Pictures Damson Idris (left) and Brad Pitt take the checkered flag in F1: The Movie Warner Bros. Pictures Damson Idris (left) and Brad Pitt take the checkered flag in F1: The Movie Julia-Simone (J-S): In the beginning of the movie, we're not in the F1 world yet. And they're building this story, doing their world building around Brad Pitt's character and then you get that moment at (U.K. F1 track) Silverstone … even though I've been hearing about this movie for two years, the lights go out at Silverstone, and I get that excitement. It really pulled me in in that moment. The cinematography, that is the selling point. It is phenomenal. Ben: It's Top Gun: Maverick taken to another level — they were able to do even more here because the cameras are so much smaller and they could control them remotely, spin them around. You could see these incredible wheel-to-wheel battles. Scott: That's got to be the most realistic racing we've ever seen, other than parts of the plot in the races. But that's fine because when I watch a racing movie, somebody's got to win. It's always probably going to be the main character, right? Yeah, of course there's drama in the last race — you need a plot — but the rest of it's awesome, and I think the plot will be fine for people that don't care about F1. J-S: The sound design was great, especially in the beginning, where you felt the room shake as they're driving. Ben: We saw it in Screen X, a quasi-270-degree viewing experience. It was fine but a bit weird. The posters say 'Filmed for IMAX,' and I definitely think seeing it on the biggest possible screen is the way to go. (F1: The Movie wasn't offered in IMAX the night we attended.) I watch every race on my big-ish TV, and you get the on-board cameras, the different perspectives, drone cameras and helicopter shots, but this was next level. Ben: Brad Pitt is what, 60? 61? They never actually say his character's age — just that he's done 30 years of racing. J-S: He's racing with (Ayrton) Senna (who died in 1994) — you do the math. Ben: It's a stretch to think someone's body could hold up for that long. Anyway, in the part he's sort of just so… Brad Pitt-y. It's like watching Tom Cruise in anything — you can't ever get totally lost in the character because they're such huge recognizable stars. But it's also part of the draw of the movie. Scott: I thought it would be worse than it was, but he took the role seriously, you can tell. And during filming over the last couple years, he seemed to be pretty immersed in it. J-S: Damson Idris was phenomenal. I think they wrote him such a good story, and then they didn't quite deliver on it. But I think he played that young, cocky rookie incredibly well. I also loved Kim Bodnia (Killing Eve), who plays the team principal. He was very believable — perfectly cast for that role. Scott: That's what I thought Javier Bardem's character would be like until he opened his mouth. Ben: His character was the least interesting or developed. I love Bardem, but this wasn't his best role. J-S: Kerry Condon was great as Kate McKenna. I found her very likable. I didn't love the playing up of her being the first female technical director in F1. And Sarah Niles, who plays Joshua Pearce's mom — she's one of my favourites. Scott: She was so good in Ted Lasso as the therapist. Warner Bros Pictures The consensus is that Kerry Condon (left) and Kim Bodnia are well-cast in F1: The Movie. Warner Bros Pictures The consensus is that Kerry Condon (left) and Kim Bodnia are well-cast in F1: The Movie. Ben: So the handsome, older driver comes in and gets frisky with the technical director (Condon). I mean I guess you've got to have a plot… Scott: But they didn't overdo it. It wasn't some extended sex scene — it was pretty quick, pretty tame. Ben: The relationship didn't impact the storyline much, other than some initial tension. It's not like she was ever sitting on the pit wall screaming, 'Sonny, be careful, sweetie!' J-S: I was a little concerned about the romance plotline going in, and it was absolutely fine. I thought it was honestly kind of believable, like it could happen. In terms of the team's on-track strategy, the teamwork thing, I respect that they needed to have a message for the kids, but as a fan, teamwork like that isn't quite the modus operandi of racing. Ben: They say your biggest rival is your teammate, so to do something for 'the good of the team' doesn't always happen. There's a point where Sonny comes in for a pit stop and they don't give him the tires that he wants, so he just sits there. Scott: That bothered me a lot. That would never happen. Ben: I guess for drama's sake, it helped move the plot along. I mean, if (four-time world champion) Max Verstappen came in and pulled that, it's one thing, butt Sonny is a guy who's barely raced in Formula One, is barely back in. Ben: I do feel like they were trying to shoehorn a lot of things into 2 1/2 hours. If you go longer, people start looking at watches. Scott: I never felt the movie was too long. It's like Drive to Survive — they focused on the big parts, the big fiery crashes. J-S: That's a racing-movie convention too: here's the important race that we're gonna spend 20 minutes in, and then here's a series of races that happened to build up. Ben: Maybe (the filmmakers) were also working within the parameters of what they were able to do. They would only go out at an actual race filming in the formation laps for like 10 minutes before lights out. It's like, 'We've gotta get the footage and get out of here because the race is going to happen and we're not real.' Of course, we're three nerds who would come and watch two hours of just straight racing on the big screen. Ben: F1: The Movie will appeal to the summer blockbuster crowd — it's Top Gun: Maverick on wheels. You don't need to be a fighter pilot or racecar driver to enjoy it. I would have preferred less explanation — like at the races, there was so much explaining of everything, mainly via the commentators: you hear Crofty and Martin Brundle, and they say, 'Oh, this is when they have to do this, which means this will happen.' I felt they were beating you over the head with how things work. Scott: I think it's good that you have that connection. You go and listen to a race, as people might do, you'll also hear Crofty and Brundle talking. I thought that made it way more realistic, but it did sound a lot like the video game, just the little one-liners they would say. J-S: Explaining those fundamentals is important for the the non-fan viewer, and I think it's something that the first season of Drive to Survive did really well — where they had (commentator) Will Buxton in there in his very dramatic way. Scott: It speaks a bit to the technical nature of the sport, though. There was a bit where the APXGP team was reported for a piece on the car that they put on, and that they had to take off. That added some unnecessary drama, but also showed some of the pettiness in the sport. When you start improving, somebody's going to complain about it, right? J-S: What I love about racing movies is like, we watch racing a because we're tech nerds — at least that's part of why I watch it — but also it's for the the grit and the guts and the the passion that a racer embodies. There are a lot of moments in this movie when I felt that didn't quite land. And I've been wondering: is this the perfect encapsulation of F1 today? Is this the F1 movie for a new audience? You've got this backdrop of the glitz and the money, that's the context that today's fan has going into F1, and I think there were a lot of moments that highlighted the parts of racing that irk me. Scott: I watched F1 in the 90s on Wide World of Sports. It would just come on. I don't know if there was even a pre-show. You'd watch the race; they would cut it off the race if it went too long. It was so primitive back then. It's so global now. Ben: So out of five checkered flags, how many for F1: The Movie? Scott: 🏁🏁🏁🏁1/2. There was so much realism to it, and I'm just a big documentary guy. At first I laughed at it all — Brad Pitt, this is going to be the dumbest thing, but I'd go see it again happily in IMAX with a bigger screen and better sound. Warner Bros Pictures Brad Pitt is recruited to help a struggling F1 team because he is Brad Pitt. Warner Bros Pictures Brad Pitt is recruited to help a struggling F1 team because he is Brad Pitt. J-S: I'd say a solid 🏁🏁🏁🏁 out of five. It's great — and I love a documentary, too — but part of what draws me into sports, broadly speaking, are the very human dramas at the heart of it. They could have done so much more with it. You could have done a whole story just about Joshua Pearce. But the cinematography aspects, hands down, one of the coolest things you can watch, absolutely see it on the biggest screen possible, the loudest theatre. Ben: I'd also give it 🏁🏁🏁🏁. There are corny parts, but it's a summer blockbuster. There are the Jurassic Parks and the How to Train Your Dragons of the world, and this — we're not in The English Patient territory here. It's a spectacle. Scott: The fact that Brad Pitt is the leading role in this movie is staggering to me. Before Drive to Survive, not that many celebs really cared about F1. You'd see your Gordon Ramsays and your soccer players, but to get Brad Pitt to star in an F1 movie would have seemed impossible 10 years ago. I loved Drive to Survive. I didn't think people would get so behind it. It's been the biggest thing that ever happened to F1. Ben: Until this. Scott: That's how cool the movie is. You have Brad Pitt, who might be the most recognizable actor in the world… J-S: … standing on the grid with the full complement of F1 drivers. It's that merging of Hollywood and sport. Every Second Friday The latest on food and drink in Winnipeg and beyond from arts writers Ben Sigurdson and Eva Wasney. It's a plot as old as the horseless carriage, but in F1, it's fuel-injected by an exceptionally appealing cast. — Ann Hornaday, Washington Post A seductive fantasy built around cool cars and an even cooler Brad Pitt. — Rafer Guzman, Newsday Brad Pitt, at 61, has finally aged into roles like these. And sometimes, as F1 proves, they're the best thing that can happen to a guy. — Stephanie Zacharek, Time Magazine Following a dramatic and expertly executed crash sequence, the movie loses its grip. It veers off course into a montage that speeds past where most of the character development might've taken place. — Maxwell Rabb, Chicago Reader Scott BilleckReporter Several wise folks — ok, ok, journalism types — once told Scott he better make sure he can report on news before he learns to write about sports. In what can only be described as a minor miracle, he listened. Read full biography Julia-Simone RutgersReporter Julia-Simone Rutgers is a climate reporter with a focus on environmental issues in Manitoba. Her position is part of a three-year partnership between the Winnipeg Free Press and The Narwhal, funded by the Winnipeg Foundation. Read full biography Ben SigurdsonLiterary editor, drinks writer Ben Sigurdson edits the Free Press books section, and also writes about wine, beer and spirits. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Yahoo
11-06-2025
- Entertainment
- Yahoo
The Last of Us: Season 2 Episode 6 Review
Episode 6 of season 2 of The Last of Us is directed by Neil Druckmann, and when viewed through that lens, its intentions become clearer. It contains some of the scenes that fans of The Last of Us Part 2, and presumably its creator, hold dearest. This allows Druckmann to tightly control the sacred bond between Joel and Ellie, as well as giving space to further explore characters barely present in the game – the final moments of Eugene's life strains the connection between the protagonists in new ways. Joe Pantoliano imbues the doomed Eugene with a dash of class, Bella Ramsey slots nicely back into the role of a younger Ellie, and Druckmann steadily steers the whole ship, but this chapter is undeniably Pedro Pascal's. His pitch-perfect portrayal of Joel reminds us of what both Ellie and the show have lost. Framed around each of Ellie's birthdays following their return to Jackson, episode 6 delicately displays Joel's urge to fulfil his role as a father. It's rooted in the very first scene, in which we see him as a teenage boy: The conversation between Joel and his father, played with warmth yet underlying hardness by Better Call Saul's Tony Dalton, presents the poisoned chalice passed down from Miller to Miller. That struggle of generational fatherhood is what has driven Joel ever since. Sarah was his world before the outbreak. Then he grieved her, holding onto her memories until Ellie arrived. By the end of this episode, she's 17, and he's on the brink of losing another daughter. It's a crossroads he's contending with, and one brilliantly displayed by Pascal throughout, as he battles to do the right thing by her. It's perhaps best conveyed in the final moment between them – and the very last conversation between Ellie and Joel before his death. Their porchside chat is perhaps the most affecting in all of the game, so it's a huge relief to see it recreated so well here. The vulnerability in Pascal's face is all-consuming, as he barely utters a word but lets his eyes speak for him. He's terrified of losing Ellie, but he's expressing it in a way that he can't really control, and a way that will infect her, too – his tears filling that cursed cup once more, ready for Ellie to sip from and make the same selfish mistakes he did. It adds extra heartbreaking context to her 'I'm gonna be a dad' quip from earlier in the season. She'll aim to break this cycle, but little in her present-day actions suggests this. Though that's giving more thought to the present day than episode 6 can muster, which is my major reservation about this episode. The series of flashbacks is heartfelt and works excellently when it comes to building out the protagonists of The Last of Us' past and future, but I can't help but feel like momentum has stalled here. It feels off to spend a whole episode exploring Ellie's history when we've just ratcheted the tension on who she's become. And with only one episode left to go in the season, it feels like the only road to a satisfying finale will involve covering a lot of ground in a short period of time. It's not so much a criticism of what this episode does, but more of its place within season Ramsey feels much more at home as a younger Ellie, portraying a wide-eyed, excitable version of the character with a far greater verve than the more fearsome evolution we got last week. It's best shown in her and Joel's visit to a nearby museum, where Ellie takes a heartstring-tugging trip into orbit, thanks to a tape recording and a long-forgotten space capsule. The smile that dances across her face is a rare moment of levity in a show, that, up until this moment, has been irrepressibly bleak. As we watch the pair enjoy their respite, it feels like some of that season 1 magic has been rebottled. But, as ever, what The Last of Us giveth with one hand, it taketh with the other, not letting us sit with this flash of joy for long. Episode 6 finally answers a question posed in the season premiere: What did Joel do to Eugene to make Gail resent him so much? Pantoliano is given his time to shine as Eugene, a member of the Jackson community whose time is ticking away thanks to an infected's bite. His introduction enables Joel and Ellie's dynamic from season 1 to resurface, and echoes of their experience in Salt Lake City can be felt. Joel has lived long enough in this world to be wary of Eugene – any sense of optimism (or hope that Eugene can be healed) is long gone. Not Ellie, though: She still carries an element of naivety and wants to help Eugene. The mercy killing carried out by Joel only sows more seeds of distrust between him and his surrogate daughter. In his lie to Gail about it, Ellie realises just how easy it is for Joel to hide the truth. It's in this moment that the fissures in their relationship really start to crack wide open. What Joel did isn't necessarily wrong, but it runs counter to Ellie's moral code and how she would've dealt with Eugene. It effectively means that she now knows that Joel has been lying about what happened in that Firefly hospital, and the revelation of him lying about Eugene is a great choice by Druckmann. It's an example of adaptation for the better – which this season largely hasn't landed for me – and a much more impactful, and logical, option than having Joel and Ellie traipse all the way back to Salt Lake City as they do in The Last of Us Part 2. It's something the episode as a whole does to great effect as it further explores the intervening years and Joel and Ellie's dynamic, offering new glimpses into previously unseen moments. Joel catching Ellie doing things she maybe shouldn't be doing at 17 and his built-in resentment for Seth (due to his former life as a policeman, like Joel's dad) add more shades to the character, even though he's long gone in the present day. These little touches and grandstand speeches combine to great effect to help us fully understand why Joel made every decision that led to his death, all the way up to rescuing his eventual killer from a horde of infected. Above all else, it's the desire to be a protector that forged the Millers' poisoned chalice – and eventually led to his downfall.
Newsweek
11-06-2025
- Entertainment
- Newsweek
Little Girl Gets Haircut, 10 Years Later She Learned Truth of What Mom Did
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Katie Beth Hall was just 10 years old when she cut her waist-length hair with the plan to donate it, but now a decade later, she has made a discovery that left the internet in stitches. While going through her family home, she discovered her packaged blonde tresses, still in a desk drawer waiting to be donated. "I just found out my mom never donated my hair from when I was 10 years old???" said the text overlay on a TikTok video with over 1.9 million views since being shared at the end of May. Based in the Pacific Northwest, Hall has been an actor since she was young and originally cut the hair on the suggestion of her manager, who advised a shorter length would help her to book more roles—something that clearly worked as she has since been in shows including Grey's Anatomy, Better Call Saul and Head of the Class. The plan was to donate the hair to Pantene's program for children experiencing hair loss, but as Hall recently uncovered, the donation never happened. Pictures of Hall from the now-viral video about the hair donation mistake. Pictures of Hall from the now-viral video about the hair donation mistake. @katiebethhall/TikTok "I discovered the hair on our desk after my mom found it tucked away in our family office area. I asked my mom, and we had a laugh about her realizing she totally forgot to send it off to the Pantene company," Hall, now aged 20, told Newsweek. Hair donation is the process of cutting usually large amounts of hair to donate and support various causes, from charities that make real-hair wigs for people going through cancer treatment or other hair loss to creating tools that can help clear oil spills after environmental disasters. Instead of sending the hair to Pantene, Hall now plans to donate it to an organization that repurposes unwanted hair into eco-friendly mats designed to absorb oil. "I'm going to be donating it to an organization that takes unwanted hair to make eco-friendly mats that absorb spilled oil from water," Hall said. In the comments on the viral video, people shared reactions and sympathy for Hall's mom, while others said that her mom should have donated the hair in the first place. "I shared on TikTok because I knew we weren't the only family that shared this experience, and the reaction was mostly the same. "Although, a few people have called me selfish for 'outing' my mother for forgetting, or calling my mother selfish for forgetting to donate the hair, even though she was a mother who had a husband deployed in Afghanistan and two children at the time," Hall explained.
Los Angeles Times
10-06-2025
- Entertainment
- Los Angeles Times
Experts break down the worst Emmy snubs of all time
After every Emmys, it's de rigueur to write about shows that were 'snubbed.' But let's put it in perspective: If 'The Bob Newhart Show' never won an Emmy, why should you? Then again, why didn't CBS' 1970s sitcom ever win an Emmy? Or 'The Wire,' for that matter? Or 'Better Call Saul,' 'New Girl,' 'Parks and Recreation,' 'My So-Called Life,' 'Better Things,' 'The Good Place,' 'BoJack Horseman' and numerous other beloved shows? In many cases, shows shut out at the Emmys have stood the test of time, if not the test of voters at the time. So why do some series — including still-eligible titles like 'NCIS,' 'It's Always Sunny in Philadelphia' and 'Yellowstone' — fall through the cracks? It happens at the Academy Awards too, of course. 'But with the Oscars, you only have one crack at it — if something else got the momentum, there's nothing you can do,' says Jason Lynch, curator at New York's Paley Center for Media. 'For TV, theoretically, if something goes for several seasons, you get multiple cracks at it, so if a series still hasn't received any Emmys, that discrepancy is more glaring and apparent. You can't just say that was a crazy year.' 'Better Call Saul' is a vivid example. 'It went 0 for 53 nominations,' Lynch says. 'There was this drumbeat, the final season, where journalists are reminding Emmy voters, 'This is your last chance, please'' — to no avail. That's another way the Emmys differ from the Oscars, notes Irving Belateche, professor of the practice of cinematic arts at USC. 'With the Oscars, you can point to times when people finally get a kind of career award, even if it's not for that role or that film. In the Emmys, they don't do that, where they say, 'Let's finally give 'Better Call Saul' a win.' That, I don't understand.' Then again, Belateche adds, the series was up against stiff competition: ''Game of Thrones' four times and 'Succession' twice. There are so many good, popular shows you're competing against, it's not so cut and dried.' Similarly, 'The Bob Newhart Show' faced off against 'All in the Family,' 'MASH' and 'The Mary Tyler Moore Show.' Still, even strong fields can't explain away the Emmys' treatment of 'The Wire' — often listed among the greatest TV shows of all time — which not only never won in five seasons but was only nominated twice. 'And 'Parks and Recreation' is absolutely one of the top three comedies of the 21st century,' Lynch says. 'To never win a single Emmy is unfathomable.' Genre bias is another concern, Belateche says. 'That worked against some of the shows that were overlooked, like 'Buffy the Vampire Slayer.'' Although 'Buffy' did win two Creative Arts Emmys, for makeup and music composition, it was up against episodes of 'The Sopranos' and 'The West Wing' — the sort of prestige dramas that traditionally do well with voters — when it was nominated in 2000 for writing. 'Sometimes the format and the tone work against it,' says Belateche. 'Obviously that's true of 'It's Always Sunny in Philadelphia.'' Set to premiere its 17th season in July, 'Sunny' has received only three nods for stunt coordination. 'It's super quirky and really popular among the younger crowd, like my students.' 'BoJack Horseman's' six surreal seasons likewise yielded just three nods. The nomination process itself can present a challenge. 'You're only submitting one episode,' Lynch points out. 'When we're thinking about award-worthy performances, we're thinking about entire seasons, or multiple seasons, but a voter is only watching whatever episode is submitted, which could be a great showcase for a scene or two but is not giving you all the context you need to appreciate that show. And I don't know how to fix that. To their credit, the Television Academy has tried. Every couple of years they do change the voting procedures, and sometimes it helps and sometimes it doesn't.' Plus, voters may lack much time to focus on anything but their own work: 'If you ask showrunners and producers what they're watching, they say, 'I'm so busy I don't have time to watch anything.' That's a problem as well,' says Lynch. 'The other thing that we've seen, even more so the past couple of years, is that Emmy voters are often reflexively voting for whatever they voted for the previous years,' he adds. 'Something like a 'Modern Family' was winning every year. And now we're getting a lot of sweeps, which became most apparent in 2020 when 'Schitt's Creek' ran the board. It's harder for other shows to get in there when you have only a small handful of shows hoovering up all of the awards.' And if shows don't score wins early in their run, it's all the harder for them to break through later. Lynch would love to see a way for TV Academy members to vote for shows once they're clearly seen as part of the pantheon. 'It's only time that's going to give you that sense of a show's legacy. But this is a TV business; nobody's going to watch an Emmy show in 2025 that's giving away trophies to shows from 2015.' Then again, the Emmys' Governors Award has occasionally been given to shows, and the entire 'Star Trek' franchise won a Governors Award in 2018 in recognition of its lasting impact, finally celebrating that first Emmy-less series (along with six others). There may be hope for 'The Wire' yet.
Boston Globe
08-06-2025
- Entertainment
- Boston Globe
Photos: See all the stars on the 2025 Tony Awards red carpet
A number of other big stars are first-time nominees as well, including Oscar-winning actor George Clooney, who is nominated in the best actor in a play category for his performance as famed journalist Edward R. Murrow in the stage adaptation of Advertisement In the best featured actor in a play category, 'Better Call Saul' star Bob Odenkirk scored his first Tony nomination for the revival of 'Glengarry Glen Ross,' which he Advertisement Check out below for photos of all the stars and top fashion looks from the 2025 Tony Awards red carpet. Eli Rallo attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Anania attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York City. Michael Loccisano/Getty Corey Brunish attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Haley Kalil attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Gary Edwin Robinson attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Sora Lee attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Jonathan Spector attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Fabiola Baglieri attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Mirta Miller attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Shalom Blac attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Marg Horwell attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York City. Michael Loccisano/Getty Jacob Rott attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Leilani Green attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions From left: Mike Isaacson and Kiwofe Coleman attend The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Rachel Smith attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Jason Weinberg attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions Keltie Knight attends The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions From left: Frank DiLella and Jessica Vosk attend The 78th Annual Tony Awards at Radio City Music Hall on Sunday in New York Tony Awards Productions .image { margin-top: 100px; } .image figcaption { display: block; max-width: 750px; margin-right: auto; margin-left: auto; font-size: 18px; caption-side: bottom; line-height: 1.5; } Matt Juul can be reached at
