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The dynamic between Mir and Raj Dar (Asif Ali and Saagar Shaikh, respectively) is as goofy and delightful as ever, but it’s Never Have I Ever star Poorna Jagannathan who ruthlessly steals scenes as the boys’ Lucky Auntie. Lucky, a longtime associate of the Dar brothers’ father, is always fabulously dressed and utterly unburdened by conscience—but in season 2 of Deli Boys, her world is expanded by way of a brand-new relationship with fellow crime boss Max Sugar (Fred Armisen).
This week, Vogue spoke to Jagannathan about vulnerability and the limits of power, conducting a onscreen love affair with Armisen, and taking fashion inspiration from her character.
Vogue: What was it like to portray a slightly softer side of Lucky in Season 2?
Poorna Jagannathan: It was fantastic. Just giving her a love interest also gave her a built-in backstory, because she has to learn how to be in a relationship, which she probably is horrible at. She’s probably killed everyone she doesn’t get along with. [Laughs.] She has to learn how to be vulnerable and open up, and she has to be dragged to therapy, which you couldn’t ever imagine her doing. It’s also seeing Max Sugar have the kind of power that she wants; I don’t know if you noticed this, but Fred’s character never does any of the dirty work himself, it’s all delegated. Lucky is like, Oh, this is what my life could be if I was the boss and could actually delegate and had actual functioning human beings helping me, not these two complete dumbasses. It’s a world that is super appealing and sexy to her.
What was it like working with Fred Armisen?
The most interesting thing about working with Fred is watching him. When there’s a joke written in, I do everything to pounce on it and amplify it and make sure it lands and make sure it’s communicated, but Fred will just be with the joke. He just doesn’t chase it. He lets the joke come to him. He’s that much of a comedic legend.

Fred Armisen in season 2 of Deli Boys.
Photo: Sandy Morris ©Hulu/Courtesy Everett CollectionDid your process for portraying Lucky change at all between Seasons 1 and 2?
It did! There was a really great rehearsal process between Fred and I, because even in the script, we jump right in; there’s an immediate attraction and clothes come off right away. We did one of the most intense rehearsals I’ve ever had, a very intimate rehearsal, and we got to know each other, but we didn’t talk much. It was a lot of dancing and movement and looking at each other and feeling comfortable in each other’s spaces, and that was hugely helpful, because I think day one, Fred and I were making it happen.

Photo: Sandy Morris/Disney
Lucky has such an inimitable sense of style; do you have a favorite outfit or item you’ve worn as her?
I do. It’s the last scene in the season, where she wears this red Mugler. That piece was from season 1, but I never wore it because we were finding Lucky, you know? Season 1 her outfits were great, but we were still finding the character, and the network was finding it, and it was a process. For season 2, our wonderful, amazing costume designer Cailey Breneman went firmly back into her mood board, which had ’90s supermodels and Bollywood stars from the ’90s. You’ll see Lucky with a lot of that strong silhouette, a lot of reds this season. There’s an amazing Stella McCartney, which initially had shoulders out to here, and we had to take off the shoulder pads and put in ones that were slightly more believable. That was in the courtroom scene. And then we had a brand called 431-88 out of India make the suit that’s in the poster. That was tailor-made for Lucky; there were a lot of costumes that were tailor-made and custom, and I think Cailey got to the end of TheRealReal. We had a very clear vision. We built on the shoulders of Season 1, sensibility-wise…and we just added pads.
How does your own sense of style compare to Lucky’s?
I 1,000 percent was waiting for this character to come into my life, because her style and sensibility and silhouettes are things I had never worn before and that I can now never imagine not wearing. It is now me, and will be me till the day I die.
This conversation has been edited and condensed.
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