This week’s Scan Sunday ranges from 2003 to 2004 and features lots of articles on the international releases of “Adaptation”, “The Hours” and “Angels in America”. There are also various reports on her 2004 AFI Life Achievement Honor, including a great cover from The Sunday Telegram. There’s also a very nostalgic article among the updates: I vividly remember flipping through my grandparent’s tv guide in 2003 to find an article on Meryl with a link to this very website. I felt like a rock star :-) How time goes by. Anyway, enjoy all the new updates and your Sunday as well.

A great Sunday to everybody! On we go with magazine scans from 1997 to 2002, featuring some lovely pictures for the television premiere of “…First Do No Harm” and reviews on “Dancing at Lughnasa”, “One True Thing” and “Music of the Heart” (I call those the twilight years :-) The update concludes with some lengthy articles on “Adaptation” in 2002. For a complete overview, have a look at the list below. Enjoy reading.

On we go with new magazine scans from the mid-1990s, in which “The House of the Spirits”, “The River Wild”, “The Bridges of Madison County”, “Before and After” and “Marvin’s Room” were released, all more or less successful with critics and the box offic, with the exception of “Madison County”. For a complete list of new articles, have a look at the list below. Enjoy your Sunday.

This week’s Scan Sunday covers Meryl Streep’s comedy years from 1989 to 1993, reviewing “She-Devil”, “Postcards from the Edge”, “Defending Your Life” and “Death Becomes Her”. Lots of articles and reviews from international magazines have been added to the photo gallery. Among the highlights is a brief mention in 1993’s Veronica magazine from the Netherlands of a big television interview to promote “Death Becomes Her”, which I have never heard of. I don’t know if it was filmed exclusively in the Netherlands, or during the UK oder French promotion for the film, so if you’re from the Netherlands and know more about this interview, please let me know. Enjoy reading and have a great Sunday.

Over the last couple of weeks, my friend and frequent site contributor Alvaro has shared yet another treasure trove of old articles with interviews and reviews, ranging from 1976 to 2021. As I didn’t want to make just one update and send them out in one big chunk, I rediscovered a nice alternative I used a couple of years ago – the Scan Sunday. From this week on, every Sunday will feature a scan update with a slice from these new scanned articles. This will keep us entertained for a couple of months :-) We start today with scans from 1976 to 1983, covering her early theatre work in New York to reviews for her formative years with “Kramer vs. Kramer”, “The French Lieutenant’s Woman” and econcluding somewhere between “Sophie’s Choice” and “Still of the Night”. For a complete list of updates, have a look at the list below. Enjoy reading.

A couple of new magazine scans have been added to the photo gallery, featuring four new cover stories. Meryl has graced the covers of the German EPD Film, the Polish Forbes Women, the Czech TV Star, as well as the latest issue of Closer, featuring a reader’s poll of America’s 25 favorite actresses of all time. For a complete list of new additions, check the previews below. Many thanks to Marci and Alvaro for submitting these great finds.

A super big batch of magazines scans and reviews from around the globe have been added to the photo gallery – giving us a wonderful overview on how the world press has received this week’s releases of “The Prom” and “Let Them All Talk”. Among the additions are some fantastic cover stories from Variety, the Spanish SuperTele and the British Yours Magazine. A complete list of all aded scans can be found below the previews. Many thanks to Alvaro for sending them all in, very appreciated. Enjoy reading.

The New York Times has an in-depth article on Hollywood’s recent revival of musicals, with a focus on the upcoming “The Prom”. The complete artcile can be read over at their website: On a sun-nuzzled February morning earlier this year, “The Prom,” Ryan Murphy’s film adaptation of the Tony-nominated musical, prepared for a location shoot in a high school gym on the eastern edge of Hollywood. Basketball hoops kissed the ceiling. Rubber matting and webs of cables carpeted the floor. Beside the snack tables, James Corden, Kerry Washington and Meryl Streep, in a wig the red of a cocktail cherry, practiced a dance number, sashaying through the same steps at not quite the same time. The filmmaking, Corden said, once he had spun his final spin, had been amazing, joyous, nearly as much fun as “Cats,” particularly these song and dance rehearsals. “You feel like you might be in the greatest touring production of all time,” he said. The stage version of “The Prom,” a story of a young woman who wants to take her girlfriend to a school dance and the Broadway stars who debatably come to her aid, has scheduled an actual tour for January, Covid-19 permitting. That’s a little more than a month after Netflix releases Murphy’s film, which tells the same tale with a starrier cast, fancier sets, delirious wigs and an orchestra that includes four French horns, four more than the Broadway pit could afford.

Entertainment Tonight has a fantastic interview with Meryl Streep, Candice Bergen and Dianne Wiest for Steven Soderbergh’s December-confirmed HBO Max film “Let Them All Talk”: Dianne Wiest sits demurely, a bookshelf behind her, broadcasting from her computer. Meryl Streep leans against a white brick wall, her iPhone at arm’s length. Candice Bergen reclines on her couch, holding her iPad over her head. For his latest film Let Them All Talk, director Steven Soderbergh put the three acting legends on a ship and, well, let them all talk. So it only made sense for EW to do the same — albeit over Zoom, rather than at sea. The ensuing conversation will mark their first extended discussion of the mysterious movie, which arrives on HBO Max in December. Scripted (sort of; more on that in a minute) by beloved short-story writer Deborah Eisenberg, Let Them All Talk stars Streep as an acclaimed novelist who’s summoned to the U.K. to receive an award. She invites two of her oldest friends (Bergen and Wiest) and her nephew (Lucas Hedges) to join her on a voyage aboard the Queen Mary 2 ocean liner, setting up a gabfest filled with reminiscence, regret, and repartee. As it happens, that also describes EW’s roundtable with the actresses. But at first, they’re just giddy to see each other again, discussing vacation spots and the California wildfires before Bergen gets things back on track. “You’re trying to get things started here,” she says with a chuckle. And so we do.

Meryl, how does playing, for lack of a better word, a regular person like this character differ from some of your more transformative roles?
I didn’t think she was so regular. I mean, to me, she was a rara avis. She’s a really weird bird. A real intellectual, which I am not. People like that sort of intimidate me, and so it’s great fun to imagine what it’d be like to have those standards of thought, and those aspirations, and to have a poetic soul, which I think she did, and the selfishness of real, true artists. People that don’t have kids and concerns that pull them into the real world. People that have been able to just live in the sort of miasma of their own imagination and anxieties and terrors. That’s her, and at this particular moment of her life, especially so. Her regrets and her desires to figure things out — it’s stuff you can relate to after 70, certainly, if you’re lucky enough to get there.

The complete interview can be read over at Entertainment Weekly and in our press archive.

The Hollywood Reporter has put “The Prom” stars Meryl Streep, Kerry Washington, James Corden, Jo Ellen Pellman, Keegan-Michael Key and Nicole Kidman on their cover with a lenghty interview inside their October 07 issue: “Should I just drop Meryl?” Keegan-Michael Key is cradling Meryl Streep in a dip as the 21-time Oscar nominee, wearing a pink-sequin pantsuit and heels, gazes admiringly up at him. The two are dancing underneath the basketball hoops in the Helen Bernstein High School gym in Los Angeles, which is decorated with beaded curtains, white balloons, twinkly lights and vases of flowers. It’s March 6, 2020, and the let’s-put-on-a-show! energy is palpable on the set of the Ryan Murphy movie The Prom, where Murphy is shooting his dance number finale, an anthem of acceptance featuring some 300 young LGBTQ extras in formal wear. The real high school is still in session around the production, and occasionally the school PA crackles with an announcement, briefly puncturing the glamour of the moment. Inside the gym, Streep, Key, Nicole Kidman, James Corden, Kerry Washington, Andrew Rannells, Tracey Ullman and newcomers Jo Ellen Pellman and Ariana DeBose are dressed in coordinated shades of turquoise, pink and purple and gathered under bright lights to dance and lip-sync to the track they have already recorded of the film’s capper, “It’s Time to Dance.” The complete article can be read over at The Hollywood Reporter.