Dir: David Frankel
Cast: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Justin Theroux, Kenneth Branagh, Lucy Liu, B. J. Novak, Simone Ashley
The reason for brining the stylish ensemble back may feel a bit contrived, but this long-awaited sequel shows that arriving late can still be fashionable as these iconic characters make a triumphant return to the screen
In 2006, David Frankel’s “The Devil Wears Prada” did something few “chick flicks” of the era managed to achieve: it created a cultural shorthand. From the classic cerulean monologue to the terrifyingly rhythmic clack of stilettos on marble, the film was more than a comedy; it was a zeitgeist-defining moment. Not only was it hilarious in its own right, but it served as a pristine time capsule for fashion and the world of media twenty years ago—a world of physical print, the absolute supremacy of the Editor-in-Chief, and a pre-digital landscape where a single nod from the right person could make or break a career.
It was also, perhaps most importantly, an unparalleled acting vehicle for the formidable Meryl Streep. Her portrayal of the intelligent but ruthless Miranda Priestly became instantly iconic, garnering the acclaimed actress further accolades, including yet another Oscar nomination to add to her peerless collection. Now, two decades later, we return to the halls of Runway magazine in a sequel that attempts to bridge the gap between the golden age of print and the chaotic, hyper-speed reality of the 2020s. Fast-forward to the present day, and the world of media has changed dramatically, printed articles and magazines are on a rapid decline, replaced by the relentless churn of the 24-hour news cycle and the visual dominance of Instagram and TikTok. Social media and online marketing now dominate not only the world of fashion but every industry on the planet.
This long-awaited sequel to the hit 2006 comedy sees its core ensemble return, finding a world where the fashion magazine is no longer a physical relic delivered to a New York townhouse or found on a news stand , but a digital asset subject to the whims of algorithms. We find Anne Hathaway’s Andy Sachs, twenty years on from the events of the last film, now a seasoned journalist with her own sense of self, once again finding herself drawn back to the fictional Runway magazine having been fired from her latest job. Despite her growth over the years, she is still pulled into the gravity of Miranda’s domineering eye. Alongside her, the incredibly loyal and equally fashionable Nigel (Stanley Tucci) continues to serve Miranda. It is a bittersweet return for Nigel; despite his genius as the magazine’s art designer, he remains perpetually underappreciated after years of hard work.
The narrative engine kicks into gear when the Runway trio encounters Miranda’s former assistant, Emily (Emily Blunt), at Dior. Emily has ascended the ranks of the fashion world, and the encounter isn’t just a social call, as they intend to strike up a lucrative advertising deal with the fashion house to help save the dying magazine, which has faced recent turmoil following a barrage of negative PR surrounding Miranda’s legendary management style and her failure to vet a puff piece involving sweatshop labour.
What ensues is a sleek and stylish journey to Milan Fashion Week in a desperate rebranding mission to secure the future of the magazine. The film excels in its production design here, utilizing an abundance of extras from the actual fashion world to bring additional glitz and glamour to the screen. The flickering lights of the paparazzi and the high-stakes negotiations in Italian villas remind us why we loved the first film: it’s a peek behind a very expensive curtain.
While I am a big fan of the original film, I was admittedly concerned when this sequel was announced. The 2006 comedy is so timeless and structurally perfect that it felt incredibly difficult to top. While this belated sequel does not quite match up to its predecessor’s lightning-in-a-bottle magic, it more than justifies its existence. It organically progresses its characters to the next steps of their journeys while offering a contemporary zeitgeist that, when compared to the original, highlights just how much the world has changed.
The film admittedly takes its time to get going. The opening act feels somewhat contrived, with a script that egregiously shoehorns its central quartet back into each other’s company through a series of tropey coincidences. However, the film soon finds its rhythm, largely thanks to the chemistry of the leads. Streep, Hathaway, Tucci, and Blunt effortlessly reprise the roles they made iconic. Watching them trade barbs is like watching a masterclass in comic timing.
While the narrative lacks the beautiful simplicity of the original—where Hathaway’s wide-eyed protagonist simply sought the approval of Streep’s titular Prada wearing “Devil”—there is still plenty of fun to be had with modern subplots. The film tackles cancel culture, social media influencers, the ethical quandaries of sweatshops, and even the realities of aging in an industry obsessed with youth. This coincides with Miranda softening slightly over the years—partly due to age, but mostly in response to a plethora of HR complaints after decades of throwing her coats at assistants and demanding the impossible. Yet, soft for Miranda Priestly is still sharper than Tiffany diamond necklace. She continues to dominate every upmarket locale she enters with a whisper that can silence any room.
Andy and Emily have clearly both grown in ambition and maturity. They continue to relish their mutual “frenemy” relationship, providing some of the film’s best moments. Emily’s establishment in the fashion world mirrors Emily Blunt’s own real-life rise to Hollywood royalty, adding a meta-layer of satisfaction for the audience, considering the first film served as her massive breakout.
For all the enjoyment of being back in their presence, the film is not without its flaws. It lacks the tightness and inherent relatability of the original, which was famously based on Lauren Weisberger’s semi-autobiographical novel following her time as Anna Wintour’s personal assistant at Vogue. While Weisberger wrote a follow-up novel in 2013, this sequel is a purely original feature penned by returning screenwriter Aline Brosh McKenna. While McKenna recaptures the “chick-lit” energy of the source material, the dialogue occasionally lacks the biting wit and surgical cattiness that made the first film so quotable.
The biggest issue with “The Devil Wears Prada 2” is a completely misjudged and unnecessary romantic subplot involving Andy. Despite establishing herself as a successful, independent woman since the events of the first film, she is seemingly swept off her feet by an Australian contractor who possesses absolutely no discernible personality. I understand the filmmakers likely wanted an “everyman” to keep the film grounded, but a character as beloved and sharp as Andy Sachs deserves better than a love interest with whom she has zero chemistry. It speaks volumes that numerous scenes involving the pair were reportedly cut from the final edit following poor test screenings. What remains is a vestigial, meaningless romantic interest that adds nothing to her character development or the overarching narrative about the survival of Runway.
Other than that glaring romantic misstep, I would call ” The Devil Wears Prada 2 a success. It was never going to be as fresh or as iconic as the film but it functions as a fascinating mirror to the first film—showing us that while the tools of the trade have changed from physical mock-ups to iPad Pro screens, the ego, the passion, and the terror of Miranda Priestly remain constant. For those of us who have spent the last twenty years quoting the original, spending another two hours with these fashion icons is a treat. It’s a stylish reminder that even in a world of influencers and “likes,” true style—and a well-placed Meryl Streep glare—is permanent.
Here is to another twenty years of Runway.
The Devil Wears Prada 2 is now showing in UK Cinemas
Dan Loves Film 
Not gonna read this thoroughly yet due to possible spoilers, but I’m getting that it’s good enough to drag your husband to on Mother’s Day, correct?
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